As the scripts come in they are sent to the artists, and the artists are either very busy, or ready to start.

Most regular superhero books are designed to go on forever; of course, very few of them do, but the point is they are trying to throw mud against the wall and hope it will stick, and most of it slides off.

Wouldn't want to write the X-Men, and I suppose the X-Men is the ultimate Marvel comic, and I really wouldn't want to go anywhere near it at all, although on the other had I wouldn't mind having a crack at something like the Punisher.

It's nice to be in a situation where the two books that I write for a sort of regular monthly income are also works that I enjoy immensely, rather than them being some kind of bread and butter, do it because you have to do it.

Yeah, Hitman I suppose is most of the time a lighter read than Preacher; it was always going to be.

I can't really put it in one sentence because although on one hand Preacher is about faith and yes it is also about, I suppose, the search for God, the search for faith and the manipulation and the abuse committed by figures in whom I suppose people have faith.

I don't necessarily write everything as automatically assuming it will be collected, there's nothing that says Hitman will be collected, though it might be.

I guess you can stay sort of true to the story; you don't have to artificially bring the character back from whatever doom you've designed for them, you can tell the story, I suppose, honestly.

It would have shown people that I was prepared to do that kind of work, although I find myself in a position now where I don't really need to and I could pick and choose the kind of characters I'd like to do.

As the scripts come in they are sent to the artists, and the artists are either very busy, or ready to start.

I'm sure you're aware, with the time it takes to put these books together, everything can suddenly start coming out at once even though I wrote anything between one and five years ago.

If you look at Marvel Comics, there are very few Marvel characters I would like to write.

I suppose that Heartland, Unknown Soldier and Pride and Joy represent not a quieter side but more of a serious side to my work, something I've been getting into recently.

With a mini series you can give the story a proper sense of pacing, a proper sense of closure.

There's immense fun to be had as long as you can sort of sneak it past DC. I have been told on occasion that I need to have more respect for these characters.

Hitman does well and it certainly does well enough to survive, but at the same time I don't want to involve the character into the DC Universe even if it meant more sales, to the point where we sort of upset the balance that we have at the moment.

Preacher is a book that somehow allows me time by its settling on it's characters, that sort of modern gothic western feel. You're not likely to see the boat veering too far from that.

You know, I think I did originally have some sort of idea of maybe a Where Eagles Dare kind of mission against impossible odds, but it really sort of died before I had a chance to really go anywhere with it, and then just doing the book was out of the question.

I tend to forget what I'm doing will ever be read while I'm writing it, and just get on with the task at hand.

I've seen a fair bit of the States and the rest of the world, and I'm convinced that there's nowhere I'd be happier, there's nowhere I'm missing out on because I'm in N.Y.

The comics I read as a kid were much more influenced by TV and movies. Encountering superheroes as an adult without that kind of childhood sentimentality, it just doesn't allow you, or in my case at least, it wouldn't let me take the characters seriously.

Tension demands release. Unusual tension demands release that can only be described as appalling.

But I found a lot of artists at the Cedar Bar were difficult for me to talk to.

Journeys, like artists, are born and not made. A thousand differing circumstances contribute to them, few of them willed or determined by the will-whatever we may think.

I got to sit down with people who I admired, and have conversations with some of the greatest thinkers and artists and performers. It's a huge privilege for me to be a journalist.

I don't believe in art. I believe in artists.

David Cronenberg knows what we actors do as artists.

The truth is, we haven't really figured out yet how artists are going to thrive in modern mass societies. We're all experiments.

Many of the artists who have represented Negro life have seen only the comic, ludicrous side of it, and have lacked sympathy with and appreciation for the warm big heart that dwells within such a rough exterior.

A great thing happening now in art is that artists are using the figure, the body, clothing, life.

The number of contemporary artists who appeal to me is infinitesimal.

I have to plead basic ignorance of most new jazz artists here.

Music is art, art is life, and we are who we are, and all of these aforementioned women, unless they should choose not to, will be performing well into the next many decades because they are great artists.

Because when the film was first mooted, the Beatles didn't like the idea at all. In fact they wouldn't have any part in it. And when Brian had committed them, it was part of a deal he did with United Artists, I think.

Artists are like everybody else.

When artists make art, they shouldn't question whether it is permissible to do one thing or another.

My proudest achievement has been the success of the shows and artists I have been involved with, because they were made in Britain.

The refusal to rest content, the willingness to risk excess on behalf of one's obsessions, is what distinguishes artists from entertainers, and what makes some artists adventurers on behalf of us all.

I didn't want to save art - I respected the older artists too much to think art needed saving. But I knew it was finished, even though, at that time, I didn't know what I would do.

Music is more emotional than prose, more revolutionary than poetry. I'm not saying I've got the answers, just a of questions that I don't hear other artists asking.

Lesser artists borrow, great artists steal.

I've never understood why artists, who so often condescend to the cliches of their own culture, are so eager to embrace the cliches of cultures they know nothing about.

I want to run for the Senate from Tennessee. Not now, but when I'm 50, when music dies down a little bit. I know lots of artists and actors have those delusions of grandeur, but ever since I was a kid, it's been of interest to me.

Let's look at people as artists and try to support them; just because Picasso painted a couple of bad paintings, that's no reason to say he's a lousy painter.

Idol has pretty much taken me out of my recording and out of my choreography. I have managed to slip in some choreography jobs. And I've been writing songs for other artists.

Great artists are people who find the way to be themselves in their art. Any sort of pretension induces mediocrity in art and life alike.

I hate artists who are not of their time.

Labels only confuse people. The smarter people recognize artists who transcend categories. But I always try to entertain. It's in my nature; writers are born to entertain. If that means working ostensibly within a genre, fine.

I hope and believe we are paving a better future for female artists to come.