Warren Ellis

(Warren Girard Ellis)

Warren Ellis
Warren Ellis
  • Born: February 16, 1968
  • Nationality: British
  • Profession: Author









Warren Girard Ellis is an English comic-book writer, novelist, and screenwriter. He is best known as the co-creator of several original comics series, including Transmetropolitan (1997–2002), Global Frequency (2002–2004), Red (2003–2004)—adapted into the feature films Red (2010) and Red 2 (2013)—Trees (2014–present), and Injection (2015–present). Ellis is the author of the novels Crooked Little Vein (2007) and Gun Machine (2013), and the novella Normal (2016).

Quotes About
Author Quote
Quote Topics Cited
Comics is still my first love. But I always did other kinds of writing, too, so I think of myself as a writer first. Love, Romance, Marriage & Sex
For me, the Internet's like music. I don't like working without it. I will tune it out for hours at a time, as I get lost in the work, but I'd know if it wasn't there. If that makes sense. Time ;Music, Chants & Rapps ;Work, Workers & The Labor Force
Here's the thing about Apple technology: once you own a piece, you want to use it. Science, Mathematics, Engineering & Technology
I am a messiah. Ask anyone on the Internet.
I can be collaborative, for instance, in situations where I go and study the artist's work before I start writing. Then I can at least try to write towards their style. Work, Workers & The Labor Force
I live on my phone: I have a bunch of news and informational apps on there.
I think blogging is a muscle that most people wear out.
I think one of the bigger lessons the Internet has taught us is that 'niche' or 'subculture' are a lot bigger than anyone ever thought.
I think the New Aesthetic is a series of observations. I think most of the trouble people have had with it comes from a misunderstanding of it as a movement.
I try not to get involved in the business of prediction. It's a quick way to look like an idiot. Business, Commerce & Finance
I try to read a Kindle Single a week, but I'm getting bad at that. I usually have a few books on the go.
I was originally going to train as a journalist, passing a series of exams that winnowed ten thousand applicants down to one hundred places on a National Union of Journalists course.
I'd like to recover some of the strangeness and wonder of consideration of the future. Future
If it's accessible by hundreds of millions of people, then it's as mainstream as it gets.
If you believe that your thoughts originate inside your brain, do you also believe that television shows are made inside your television set?
If you write any kind of fiction about America, you immediately have to start doing some research about guns, so in some ways, 'Gun Machine' is just the culmination of 20 years of reading about guns.
In general, I don't like L.A. all that much, but it has wonderful parts.
It's a strange world. Let's keep it that way.
It's always difficult with the superhero stuff because you're working with characters who have been written by 100 to 200 people over the past 20 years, at least, so they never sound the same or act the same. The best approach is to try to draw the best fitting line through all of the interpretations.
I've always moved between media. Some ideas just work better in some media than others. Work, Workers & The Labor Force
Learning to write comics is, in fact, so bloody difficult because it's such a weird form that it does actually make you a bit more adaptable for other forms. Education, Learning, Knowledge & Training
On the evidence I have on hand at home, social media isn't killing our children. It isn't killing families, either, because the constant long bloody phone calls that parents complained to their teenagers about in decades past are gone.
The lesson of 'CSI' is: No matter what horrible things happen, nice policemen will turn up and fix everything and return it to the status quo.
The things I have sold to film, I've sold because I was happy to rent out the right to adapt those works. Some things, I haven't sold to film, because I was less interested in having no control over the adaptation.
When I'm working in finite serials, I always think in terms of the entire book rather than the individual episode because, by far, the vaster sector of the project's lifespan will be in complete book form rather than the singles.
You're miserable, edgy and tired. You're in the perfect mood for journalism.