Quotes of All Topics . Occasions . Authors
I don't know, maybe it's just timely, or maybe it's the fact that I live in a house with four women, but I just find my thoughts kind of skewing that direction at the moment.
Anytime something becomes a success in this way you always get imitators. I'm an imitator of the guys I love. I imitate people like Frank Miller, who is a huge inspiration to me.
It didn't take a trauma to make you wear a mask. It didn't take your parents getting shot...or cosmic rays or a power ring...Just the perfect combination of loneliness and despair.
We've had really good mainstream publicity for these books and both Wanted and Chosen were snapped up as movie deals before each series even ended so I'm honestly just pinching myself.
There's almost a universe as big as the Marvel Universe with X-Men. I mean, Deadpool is something I think everybody was taken surprise by, except for the people who read the comic book.
At the moment, I have it planned as a six or seven year experiment, but the books will only ever appear in bursts like this every couple of years and only with the best quality artists.
I think American audiences are quite interesting in that they can handle almost any amount of violence, but the moment the violence becomes sexual violence it immediately becomes an issue.
I love the fact that they [girls ]are into Superman and Green Lantern and Batman and everything, and they really do have all those toys as well, but I don't want all their role models to be men.
I don't see one as bring better or more literate than the other and there's a real buzz to not only writing about a character I love like Superman, but also writing something that kids can enjoy.
I'm just running through this list of potential nannies and wondered if we should go for a superhero this time. Do you think Wolverine would be interested? He seems to be on every other team right now.
Cookbooks are almost a substitution for a lost sense of culture. People want some other life than the one they're living, so they buy a cookbook with pictures and imagine themselves as part of that life.
Comic artists have always been part of my social circle. I just like hanging out with artists, and I always see them at conventions or a store signing or something. "Hey, we should do something together."
I'm very lucky that I have this other career that runs alongside my comic career, which is a film career, and I've been given this really lovely setup where they seem to make the movies very quickly as well.
We ordinary people might lack your great speed or your X-Ray vision, Superman, but never underestimate the power of the human mind. We carry the most dangerous weapon on Earth inside these thick skulls of ours.
It's been the most creatively liberating thing I've ever done and so I'm bringing some of that mad enthusiasm to Marvel for the next couple of years as they let me loose on some Marvel Universe titles you'll be hearing about soon.
First, believe in your ability to create the future. That's what leaders do-that is our job. Understand reality but never be imprisoned by it. Reality is a moment in time. The future has not yet been written-it is written by leaders.
Maybe in this Star Wars world maybe subconsciously I was preparing myself. But I've just found all of my ideas I've been coming up with are big sci-fi things, and I wanted to do a big epic, a big space opera, and this is it. This is mine.
I just noticed I've been writing lots of female-led things. Two of them haven't been announced yet, but the big Greg Capullo book I'm doing is a female-led story, and I'm doing another series with John Romita which is a female-led story as well.
The ultimate [act] that would be the taboo, to show how bad some villain is, was to have somebody being raped, you know? I don't really think it matters. It's the same as, like, a decapitation. It's just a horrible act to show that somebody's a bad guy.
The one thing we can all relate to is family, and family has its traumas sometimes. Sometimes things don't go well for people. Sometimes things are tough. So everybody kind of knows someone who's been in this situation before, and I think that's what makes it work.
I just think adding superheroes to something instantly makes it more interesting. I have a friend who says every movie should either be a Spider-Man movie, or at least have Spider-Man in it. I thought it was such a brilliant quote. It kind of is true, in a weird way.
It's been a very interesting exercise as a writer - writing a little family group, like The Incredibles or The Simpsons or something like that, and setting it in a big Star Wars-type setting. It's been really fun, definitely different from the kind of thing I normally do.
Batman: a force of chaos in my world of perfect order. The dark side of the Soviet dream. Rumored to be a thousand murdered dissidents, they said he was a ghost. A walking dead man. A symbol of rebellion that would never fade as long as the system survived. Anarchy in black.
I was desperate to work with Stuart Immonen, who I have talked with for several years about doing a project together. So just the stars aligned. I knew that Stuart had a little break in his schedule, where he would be willing to do a project with me. So this year I've been very lucky.
Would you rather see a super soldier battling Nazis or something more serious? Or lesbians down a coal mine? Generally, the films are engaging in the same way as the comics are. It's no coincidence that the biggest movies are genre-related, whether it's Lord of the Rings or comic books.
Ever since 1980, sci-fi has generally been more Bladerunner than Star Wars. People talk about Star Wars being the most influential movie of all time and creating the blockbuster along with Jaws and that sort of thing, but really there's not been a space opera that anyone can go and see.
What I do with everything is take things out of real life. You encounter all sorts of stories. It's a lot of your friends and family, sometimes there's quite sad episodes in their life and everything. So just little things I've picked up along the years always find a way into all of my stories.
In the U.S., Superman or Batman or something, the law-enforcement people, are the most famous comic characters. Americans have a respect, I think, for badges and a respect for uniforms. I think that's, in some ways, quite a nice thing, but it can be dangerous, too, because it can obviously be abused.
I'm so used to artists saying to me, "Listen, I'm going to have five pages done next week," and then three weeks later I'm phoning them, begging them for two pages. And Stuart [Immonen]is a guy who will promise you five pages and deliver six pages, and the six pages are even better than you could have ever imagined.
The lovely thing is, if Marvel had a Spider-Man movie over at Sony or something, they own the rights to the character, and the editors and producers make suggestions and get notes and things. But you're talking about Matthew Vaughn and Jane Goldman. They're two of the best people in the world. The notes are just things like, "This is absolutely brilliant."
Even when I was a little boy, when I was seven, I absolutely loved Wonder Woman, and I saw her as one of the superhero greats with Superman and Batman, and I think it's because she was her own thing. She always felt like the real deal the same way that Superman and Batman did. Whereas the She-Hulks and Spider-Women and all that kind of thing felt like a continuation of a concept.
The weird thing is that Stuart's the one guy - Stuart [Immonen ]and Sean Gordon Murphy, they're the kind of guys you can trust, where you don't need to do that because those guys are so incredibly reliable. They're just like clockwork, they turn in the pages just so perfectly on time. But I'm so paranoid, because I've been burned so many times, that I'm still even banking these guys.
Oddly, I think if you look at comic books, you look at the shelves in the store, it's predominantly male characters, historically. But if you look outside the window it's 52-percent female, and something odd is going on there. So I do think it's your responsibility as a writer, really, to create stuff that little girls can get into too. I want my daughters to have role models that are female.
The big thing is it's a domestic drama. Everything else in science fiction tends to be high-concept. Really for the last 40 years or so I think sci-fi's been a little cold and a little inhuman quite often - certainly since the 1980s - and I really wanted to do something that almost felt like a regular, real-life drama but just set it in a sci-fi setting. I think the best stuff is always like that.
I just love the fact that all my pals are basically looked after. You know, we have these amazing deals, these guys split 50 percent. We have ownership 50 percent, all the bonuses 50 percent, and everybody's going to be alright. So going forward into the future, every one of these Millarworld projects, as we call them, 50 percent partners on everything. So it's just a really happy environment to be working in.
Matthew Vaughn phoned me up and he said, "Hey, listen, the movie has just done gangbusters. We've got to do the second one." And I was like, "Matthew, I have no second book. Dave and I haven't done it," and he's like, "You're kidding!" He said, "This movie's just made $420 million!" I was like, "...We've got nothing." So the amazing thing was, because we own the rights, we still get paid and everything, which is fantastic.
When I was a kid growing up in the '80s, the BBC showed those old Buster Crabbe serials like Flash Gordon and Buck Rogers. So instead of ponderous sci-fi or depressing sci-fi or dystopian sci-fi and all the things we're kind of used to, where it's always raining and it's always dark, I thought, "Wouldn't it be nice to do something that was just fun and absolutely nonstop?" Like, I love writing action, and this thing is that. It's all action.
What I wanted to do was drown something enormous, like a Star Trek or Star Wars kind of space opera-type thing, but actually make it about someone who was just married to the wrong guy, and that guy just happens to be this amazing dictator, and she has to get her kids as far away as possible from this guy. So something that could almost be a TV movie, if you'd ground it and set it in Wisconsin or something like that, but to give it this enormous setting.
There probably aren't a lot of new superheroes around, so whenever one appears, it makes a bit of noise. Really, most of the people who are my friends write characters they loved as children. I get that, as well, because that's why I got into comics. But I'm also taking this massive liberation creatively, going off and doing new stuff. The first and foremost reason I do it is because I think they're fun, and I can do anything I want. I'm not constrained by continuity.
When that character and the X-Force appeared, they took the comic world by storm. You have to look at those numbers. And you see that that isn't Rob Liefeld's only creation. There's all these other things, like Cable and Domino. There's so many things that actually could be fascinating onscreen and unlike anything you've ever seen before onscreen. So I think Fox is in a really nice position where they've got something that feels as wide and different as the Marvel Universe.
Pretty much all comic-book people, like all Hollywood people, for the most part, are pretty liberal. I think especially UK writers. Alan Moore is probably the most radical guy you'll ever meet. I grew up loving those guys, so my heroes, as a kid, were radical cartoonists, essentially. I couldn't help but - I grew up in a left-wing household. But I do think it's fun, writing right-wing characters. I've found it interesting, just as a writer, to get inside their heads and make them likeable.
The success [of the X-Men], I think, is for two reasons. The first is that, creatively, the book was close to perfect ... but the other reason is that it was a book about being different in a culture where, for the first time in the West, being different wasn't just accepted, but was also fashionable. I don't think it's a coincidence that gay rights, black rights, the empowerment of women and political correctness all happened over those twenty years and a book about outsiders trying to be accepted was almost the poster-boy for this era in American culture.
If I'm creating a new superhero, it shouldn't be any different from other superheroes in terms of the qualities. Obviously the personality can be different. I think traditionally in comics women have tended to be a girlfriend or the daughter of whoever, whether it's even Batgirl as Gordon's daughter, or whatever. There is that relation of the hero, you know, like Superman's cousin, Supergirl. And that's great. It's fantastic to have a link to these amazing characters, but I kind of like the idea of things being something in their own right, which is why I've always loved Wonder Woman.
I just trust the people involved. Marvel and DC for the last 16 years - is that 90 percent of the time it's incredible top talent. Like, this is what makes it different from the pre-2000 superhero movies. I would say, except Tim Burton and Richard Donner, it was generally, comic book movies were done by guys who weren't that into the material and people who didn't really respect the stuff. But as everything, whether it's Wolverine, X-Men, Avengers, Batman, all these things, it's just been done by top-tier people. I have total confidence that they'll continue that tradition of being great.