Mark Waid Quotes

God has given us an imagination, and our imagination is really the principle tool from which all creativity and artistry comes from.

I love illustrating for other writers because I am given stories I never would have thought of, and my work as an illustrator is always in support of the story.

I always love working with other creative talent.

What I love most about animation is, it's a team sport, and everything we do is about pure imagination.

I like working closely with artists. I think that's very important in fantasy and science fiction - the visual aspect of the worlds and the characters.

Real talent is mixing realism with bluff. Every great artist I really respect has a certain amount of bluff; sooner or later you have to be a conjurer, and conjure images.

My vision and my creative ability is just so broad.

I want to make my kind of films but make them work commercially, too. When my presentation meets the director's imagination, the result will be great.

Creator and reader are partners in the invisible creating something out of nothing, time and time again.

I believe, even when I'm doing my standup or my acting or whatever I'm doing, I believe in painting pictures.

I'm always in awe of people who are artists in their fields - people who understand that simply by taking ideas and translating them into reality, they've created value in the world.

Gary Ross is amazing. He's just - he always has a billion ideas of what he wants, but has a very clear perspective also; he just makes it work. He really does. He's trying different things and making everything look amazing.

I'm proud of 'Sinister' because Scott and Cargill did a great job on the movie, and I set up a framework for them to make what they wanted to make. They gave me the idea, and I figured out how to get it out into the world.

And I think one way or another it's evident to those who work with me that as a writer, a director, a friend, as somebody's there that's very anxious to get the movie made.

The first and primary requirement for me in a director that I'd want to work with is: do they love writing, and do they love the collaboration process with writers?

I have admired David Bromley's work for years. He possesses such a wild and vivid imagination and really sees the beauty in everything.

I just love working with actors, and I love working with writers, working with designers. I feel that I am just a storyteller, and whether I am wearing the director hat or the playwright hat, it doesn't matter. And the rooms I tend to be in are pretty democratic, and the best idea wins.

When I sign on for a project, I'm there to give the director all the material he or she might need to tell their story, and that's the number one priority.

Watching John Lasseter's films, I think I can understand better than anyone that what he's doing, is going straight ahead with his vision and working really hard to get that vision into film form. And I feel that my understanding this of him is my friendship towards him.

When the director has a vision for a piece that I've never heard before, and they can back that up with visuals, and they talk a good game, I get really interested in the world that they're trying to create.

There are two men inside the artist, the poet and the craftsman. One is born a poet. One becomes a craftsman.

Cartoonists' dirty secret is that we tend to come up with stories that involve things that are really fun to draw.

Art and works of art do not make an artist; sense and enthusiasm and instinct do.

But I'm blessed to work with great people. I collaborate with brilliant stylists both here and in Paris. I work with a great design team. I really allow everyone to bring their ideas. I almost rely on them to inspire me.

I might be like a conductor, or I collect the stuff together and I do a lot of my own writing. But what is a pleasure is the whole creative thing in which we're all excavating and trying to find something.