Even in the face of the greatest adversity, the key is to never lose hope, never lose sense of the dream that drives you.

The weird thing for me is I'm sitting there in the '80s writing about the Mutant Control Act and here we are in the second decade of the 21st century with the Patriot Act, listening to presidential candidates talk about building walls to keep people out: who's acceptable and who isn't. It's very creepy.

The fundamental thing that makes the 'X-Men' different from every other series out there is it's all about prejudice. It's about a group of young people trying to make a place in a society that doesn't want them.

X-Men has always been about finding your place in a society that doesn't want you.

The most basic excitement was the opportunity to work with Dave Cockrum. He was an artist I'd admired for years and our imaginations were ridiculously simpatico.

I will say there is only one caveat as far as 'Logan' goes: I got to the end and went, 'OK, what happens next?' To me, as an audience member, damn. If you can get to the end of the third act of a trilogy and your reaction is 'what the hell happens next,' someone did their job incredibly.

The one thing I have never been comfortable with in the modern presentation of character - and it may have changed, this is some years ago - is their total isolation from the rest of the world. It's all about superheroes interacting with superheroes. There's no normal life. No normal people.

I think it would be cool if Hugh Jackman showed up in 'Avengers: Infinity War,' even if just for a tryout.

My problem with both iterations of 'Dark Phoenix' onscreen, the original by Brett Ratner and the newer version by Simon Kinberg, is, I don't think you can do it effectively in 90 minutes.