Quite often in comic book movies, very good actresses are relegated to being the girlfriend or the helper or the sidekick or something.

I'm a very visual thinker, so the characters are running through my head, doing what they're doing when I'm writing them. And there'll be moments where I'll just kind of throw a look off to the side as if I'm talking to one of the characters. It's always been something that I've had with me since I was a little kid.

I look at the Marvel movies and the DC movies and various creators' creations, and I think, you know, that's really pretty cool.

As much as I love elements of Spider-Man's past, I don't really want to go back in and retell the Gwen Stacy and Green Goblin story in animation just so I can do my take on it. I don't want to redo the first 'Spider Slayer' story.

We're all painfully aware of how suddenly violence can occur, how crippling it is, and how survivors have to find a way back from that.

Mickey Mouse did not stay the little squeaky guy in 'Steamboat Willie.' He went on to have many different versions.

You don't have to limit yourself or feel that you've been limited by an act of cruelty.

Initially, kids are attracted to Superman as a hero because he can take care of problems and still appear as friendly as your dad.

You have to be kind to yourself to survive in the world.

You have to remember, when someone hurts you, that you are so much more than what they took from you.

That's the thing about writing for a lot of the villains is that, as a writer, you kind of have to put the best part of your own personality aside and instead focus on whatever little strange quirks you may have in your personality.

To some degree, I don't think 'Batman' works in a completely modern city; I think Gotham has be reflective of his personality and those of his enemies.

I grew up loving cartoons, comics, magic, and writing.

When you do an animated series and add characters who are not from the canon, you really have to win over the hardcore fans.

In every story I've written with Batman, there's an element of justice - you never want to have the story end on a defeatist or a cynical note.

I was working in cartoons. I could go to Comic-Con, buy the Hal Jordan ring, I could buy animation cels, but at the end of the day, I come back to an empty apartment. I had a life that was only around me, and when I was broken, my world was broken.

Kids love the Hulk, but they're not really sure: 'Is he a monster or is he a hero?'

With 'Wonder Woman,' I did one story with Alex Ross, and I had a lot of fun doing it, but I don't think I could do a 'Wonder Woman' book on a regular basis, because there's so much history there and so much mythology and everything.

You can have villains like the Penguin, who strut around in a tuxedo with an umbrella, and Poison Ivy and all of the fantastic stuff she does, but unless there's a bit of a human in there, and unless there's a credible threat, then Batman himself doesn't work.

Batman is dark and moody and spooky and, in some cases, methodical.

Hugo Strange is interesting in the sense that he's a master manipulator. He doesn't really engage Batman in any sort of physical way. His weapon is his mind, and he's very incisive and clever: he reads people and sizes them up almost instantly.

'Jingle Belle' spins out of my love for just sitting down and reading a good, fun Sunday morning comic strip panel.

My story is just my story, and it's not nearly as traumatic as some.

If everybody's a winner, nobody has to try very hard.