Alan Moore Quotes

I think that one of the most useful applications of the Creator's Bill of Rights is that it clearly indicates for creators what rights they have at the outset.

I think copyright is moral, proper. I think a creator has the right to control the disposition of his or her works - I actually believe that the financial issue is less important than the integrity of the work, the attribution, that kind of stuff.

It's hard for new artists to keep hold of what they own.

The Constitution wanted artists to have control over their works because they knew it would create incentive to create more works. That is clearly still the goal.

Don't sell your publishing.

A lot of artists are much more concerned about how their work is used and how it's disseminated. That, to artists, is as important as the money, for some people.

If we're talking about someone creating something new, those rights are fairly well defined (in the United States, at least) under existing copyright law. But then there's often discussion about the rights of people who produce works under work-for-hire arrangements, which can be far more subtle and nuanced.

You'd be naive if you think you are going to retain any control once you option a character to TV.

I was just finishing high school and entering college in 1988, when the Creator's Bill of Rights was drafted, and had already set my sights on building a career as a writer of comics. Discovering the Creator's Bill of Rights - in an issue of 'The Comics Journal,' if I'm not mistaken - I accepted it as gospel.

Music video directors, who conceive, write and direct these works, enjoy no creative rights, receive no ongoing financial benefit from the sale of our work, and many times are not even credited.

I want all of my films to belong to me.

Copyright is too valuable to be wholly renounced.

No one can come and claim ownership of my work. I am the creator of it, and it lives within me.

I'm pretty ruthless about that; I think when you sign over your story, you sign over your story.

If you create something, you don't want someone else to go and profit from it; you have your right to make a living and everything. So I respect copyright. What I don't respect is copyright extremism. And I what I don't respect is a business model that encourages piracy.

Intellectual property has the shelf life of a banana.

Their argument, and I think it's a correct one, is that they'll make more money from the trades and the hardcovers if nobody messes with the creative team.

I believe in creative control. No matter what anyone makes, they should have control over it.

I own all the characters I created, thanks to the Writers Guild, so nobody can do anything without me. The way it works is: If the copyright owners instigate a project, like the movie, then I get a fee as creator. If I instigate a project, like the musical, I pay a percentage to the copyright owners.

I have a long-standing history of respecting artists' wishes.

Hollywood wants to own everything. I don't want to own anything. I don't want people just to make content, I want to empower and teach them to create content they own that they can exploit in any medium.

I think the purveyors of e-books are only too happy for this atmosphere of 'everything belongs to everybody' to increase because it means they don't have to think so much about the original maker of the thing, or they can get away with paying them less.

Project Xanadu is essentially my trademark. It was originally, and has returned to my arms as that.

When a record co. finds a guy now, they want to own everything. They want to own the rights to market that person's particular name. They want a piece of the action all the way through.

The way I look at it is that once you create a piece of art, and it's out in the world, there's nothing you can do about it. People can use it the way they want to. There's nothing you can do about it. All you can hope for is that people that are using it are using it with the best intent.