Jason Aaron Quotes

I've never done a sequel - so far, there have been too many new stories and characters calling my name.

I want to be true to the character and maintain some consistency and give the audience what they love while at the same time keeping things fresh and grow the character.

It's fun to twist fairy tales, but at the same time, I know I need to write stories that are different enough from each other that fans don't feel like they're just reading the same story over and over again.

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.

You don't want to write the same story again, but people are like 'We want the same story but different.' Well, how do you do that?

The quality I appreciated most about Grafton was her loyalty. She stuck with 'Kinsey Millhone' and the alphabet series conceit for her entire career but did not allow herself to stagnate as a writer. Kinsey's first-person narrative gradually made room for other, third-person perspectives.

If I've got a script, you think I'll go to Hollywood to get money? I was bored with the people around me, so I just created my own movie, my own character. I'm the story of my own movie, and you know what? My movie is going to be better.

I've never written anything that I haven't wanted to write again. I want to, and still am, writing 'A Few Good Men' again. I didn't know what I was doing then, and I'm still trying to get it right. I would write 'The Social Network' again if they would let me, I'd write 'Moneyball' again. I would write 'The West Wing' again.

The terror of figuring out a new genre, of telling a new story, is what makes the job exciting, keeps me from getting bored, and I assume it keeps whoever follows my work from getting bored as well.

It's a challenge every year with a TV series. You want to keep evolving and keep it going. That's part of the fun.

I've never been able to write a movie script. I respect that skill so much, but it's not been the way my brain works.

'An Education' was a complicated piece of work because it came from a tiny essay, so it took me a while to find the story I wanted to tell and the characters I wanted to tell it about. That really only emerged after four or five drafts.

It's like trying to be a traffic cop and write a poem at the same time. You need an executive head to handle all the vast paraphernalia of moviemaking. You need another, more sensitive head to get the delicate human emotional values you are trying to put on film.

For a while, when I got out of college, I tried to write fiction. I'd grown up more around novelists, and my initial attraction was to write fiction. But I was much less suited for it. I always struggled to figure out what people were saying or doing in a particular moment.

I'd like to know what I could do if I really had the time to spend on writing a book, with no columns or shows to do at the same time.

Short fiction encourages experimentation, and it's fun to play with form and try experiments that may or may not work out.

TV writing - for me, at least - is half original voice and half an embodiment and a representation of the spirit of the actors you're writing for.

I've been writing screenplays for a long time, and a lot of it came out of the journalism I was doing.

As a director, you want to work with great writers.

'Scalped' No. 1 was only the third comic script I'd ever written. I really learned a lot about writing on the fly with that series.

What I feel responsible for is, if my name is on a comic, I want it to be the best-written comic that I can possibly do. I want it to include some new things we haven't seen before, new story ideas, new characters. Quality, quality art, all those kinds of things.

Usually, in theatre, you're adapting existing material or creating an entirely new play. With the 'Cursed Child,' we have been given the unique opportunity to explore some of the most cherished books and beloved characters ever written, yet work with J. K. Rowling to tell a story from that world that no one yet knows - it's exhilarating.

I know now why I stopped writing short stories. It was at the point when I recognised how difficult they were.

I'm going to call WWE like I call everything. Yes, I'm going to be passionate. Yes, I'm going to be excited, but at the same time, I'm hoping to get better as a storyteller, and I'm hoping to complement the people I work with who have been doing this a lot longer than I have.

Good musicals, a strange world, seem so easy. People say, 'Ohhh, it's magic.' Nothing's magic. A thing doesn't jell. Adapt. Change the rhythm. Shorten the scene. Rewrite the character. Maneuver the waters. Seeming easy is why so many shows aren't good.