Ray Fisher Quotes

People look at Marvel movies as epic in scope, but if you look back at the comics, you realise that Marvel heroes were often a reaction to the square-jawed DC characters like Superman, who were flawless and beyond reproach.

When I read Frank Miller's 'The Dark Knight Returns', I think it's a wonderful record of the Reagan era. I think it's amazing. This is the time I lived in.

I never write something and consciously embed political commentary or any other kind of commentary. I just try to get the characters into a room or out of a room, or onto the plane, or through the grocery store. The political stuff, the class stuff, the gender stuff, is in the air, it's in their interactions, because it's there for all of us.

One of my earliest jobs drawing was 'Wonder Woman: Our Worlds At War,' with Phil Jimenez, which was a really cool jaunt through her history. I got to draw this two-page spread that was set in the Golden Age.

One of my favorite comic books of all-time is the graphic novel 'God Loves, Man Kills.'

I'm excited for everybody to see the books. In Justice League #15, there's a lot of other stuff too that's setup in this storyline that's going to explore Superman and Wonder Woman and Cyborg. Cyborg has a huge role in this story, actually, that sends him on a new path as well.

Well first of all you have to make the character strong so that people can follow that. And then hopefully that character can integrate with the background of the social situation that people can recognize.

I don't feel drawn to lightness, I need something more. I feel that - oh, I hate saying this, it sounds so wanky - but I feel a real urge to give voices to people we don't usually hear from in real life.

When you look at 'Grapes of Wrath,' the weakest moments are those in which Steinbeck is spouting a political idea directly at the reader. The book's real power comes from its slower, broader movement.

I think comics are really part of The Zeitgeist. They reflect back to us the issues that we're concerned about in the time they are written.

'Watchmen' is not only the greatest comic ever written, it's a really important work of fiction.

Democracy means simply the bludgeoning of the people by the people for the people.

I started off at the Second City in Chicago... It's an improvisational theater that ostensibly does social and political satire, but when I was there, we generally didn't. We did character work, and we did just the silliest things we could think of. We weren't all that concerned with, you know, changing the world through mime.

Democracy is the theory that the common people know what they want and deserve to get it good and hard.

Geoff Johns is super talented, super smart. Part of what got me excited about the Aquaman character is his re-envisioning of Aquaman, the character, with 'The New 52.'

There's no recreating what Michael Jackson and Diana Ross did in 'The Wiz'. We're trying to figure out who these characters are in 2015. How would these times change their motives, change the things they would say and do?

There was a time during 'Gone Girl' that I'd come home, and I'd say, 'I get to be every part of being a woman in this role.' For me, I feel it much more as a springboard for the work I'm going to take on thereafter.

I have to have a passionate connection to my films, which I do with 'Justice League Dark.' I have a way into the story that's personal, the way I have a connection to 'The Wall.'

Political theatre presents an entirely different set of problems. Sermonising has to be avoided at all cost. Objectivity is essential. The characters must be allowed to breathe their own air. The author cannot confine and constrict them to satisfy his own taste or disposition or prejudice.

There's a social piece to what's going on in the Sugarland world, but we've never been a band that's political, and I maintain that.

Satire doesn't effect change.

I love what Brian Azzarello did with Wonder Woman.

Over the years, the writers at DC Comics softened Wonder Woman's powers in ways that would have infuriated Marston. During the 1960s, she was hardly wondrous at all, less a heroic warrior than the tomboyish girl next door. It was no longer clear whether she was meant to empower the girls or captivate the boys.

I want to re-mythologize 'The Green Hornet' in a contemporary context, with an emphasis on story and character, while at the same time incorporating themes that speak to my heart.

When I make my socially conscious songs, I go hard with the lyrical content; I go hard with the imagery.