Ruben Fleischer Quotes

Venom first made his appearance some years ago in a Spider-Man book, and was a huge best-seller.

One of the greatest things about 'Continuum' is how great the writing is; our writing room is one of the most talented ones I've ever had. It really helps me as far as character development because they paint a very descriptive picture of who the characters are while still letting us have freedom to put in our own ideas.

As far as subject matter, I'd say most of the songs aren't that personal to me. I love making up characters and kind of having fun in a different kind of way.

You see a comic, and you're like, 'Oh wow: the Riddler has been drawn this way, and he's been drawn that way.' There are tons of looks, and his personality changes based on who's writing them.

So once I thought of the villain with a sense of humor, I began to think of a name and the name "the Joker" immediately came to mind. There was the association with the Joker in the deck of cards, and I probably yelled literally, 'Eureka!' because I knew I had the name and the image at the same time.

As far as I am concerned, I write novels, and other people can do the labelling.

It's just so much more exciting to have no limits and to be able to take your character as far as you want or need to get where you want to go.

I am fine playing 'Law & Order' and even the 'Jurassic' movies to be straight up, as far as the characters being portrayed there, but I never want to stay in straight-up land too long. I always wanted to do something where the character's world gets to be explored.

I think there's a possibility that comic book movies are getting a tiny bit better on the one hand because they're no longer made by executives, who are, you know, ninety-year-old bald tailors with cigars, going, 'The kids love this!'

No one has approached me about Captain Marvel. But I don't know if I'd even want to play Captain Marvel. I would much rather play a villain and be nasty. It's more fun.

I hope that 'Gambit' doesn't take ten years, but it takes a little honing to get that tone and that voice exactly right. The character has such a specific voice in the comic, in the same way that Deadpool has a specific voice in the comic, that we want to make sure that we capture that voice on the page.

This is not the story of Elektra from the comics. We're telling the story of 'Daredevil.' In this aspect, the storylines accentuate the sociopathic tendencies in her. The writers wanted to highlight that Elektra is quite manipulative and doesn't seem to have a conscience.

Writing 'Deadpool' can be a lot of fun. When I first started working with the character, I wasn't sure I'd like him. I quickly realized, though, that a writer can do pretty much anything with him - comedic stories, serious stories, completely nonsensical stories.

I love Deathstroke! I was 12 in 1980 when Deathstroke appeared in 'Teen Titans' #2.

Some of the writers definitely got inspired by some of the story lines, but we are evolving in the 'Daredevil' story. So when it comes to 'Elektra', they didn't follow one of her specific story lines, you know. They really tried to capture what comes through the comics, but there's not one specific storyline.

I'm making a movie about Wonder Woman, who I love, who to me is one of the great superheroes, so I just treated her like a universal character, and that's what I think is the next step when I think you can do that more and more and when studios have the confidence to do that more and more.

There is more than enough 'Venom' to go around. Venom is a really huge character, and Hardy is an amazing actor, so there is plenty to mine just from Tom's performance, the character and the world he inhabits.

When they first asked me to do 'Hulk,' my first instinct was to say no because I didn't think I had anything to say with the character, especially when they said, 'Please do what you did with 'Daredevil,' whatever that was.'

Deathstroke,' in my view, is a family drama. It's like the 'Sopranos' with super villains.

When I work, I really try to get absorbed in the character. Unless I want to do something playful with the camera, I'm not too worried about where the camera is or positions.

Usually, with a novel, you start with no idea what to do because your job is to create convincing characters and then they just run around getting crazy. The problem with writing a memoir, obviously, is you can't do that because you sort of know what's going to happen. Because you're the character.

Mainly, I try not to think about my readers as I write - I just think of my characters and myself - If they're interesting to me, my hope is that they'll be interesting to others as well.

To imagine myself in different ways comes from my beginnings in the theatre. People are more accepting when you go 'apparently', 'wildly' afield from who you are or where you were brought up.

Maybe I'm perverse, but the question of "rooting" for a character, or setting out to write a character for whom other people will root, has never had anything to do with why I read or write fiction. As long as the writing and story remain alive, intense, invigorating, provoking, the characters can be as demonic or saintly as the author wants.

Even though Doctor Strange is an established character, when you're doing an origin story there's a lot of room for manoeuvre.