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.

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.

In this watering-place I acted an heroic character, badly studied; and being a novice on such a stage, I forgot my part before a pair of lovely blue eyes.

I do like to embed a fictional character firmly in an occupation.

But even with a character like Cary who is relatively outlandish, at the end of the movie he's in a place where I wouldn't have expected him to be - taking on the responsibility of a woman who is pregnant and who used to be his best friend's wife.

Always, your work is the same: You have to tell a story, you have to make a character. It doesn't matter if there are thousands of dollars, millions behind it, or if there is nothing.

Each of us is meant to have a character all our own, to be what no other can exactly be, and do what no other can exactly do.

I liked Huckleberry Finn and Tom Sawyer, and that is the kind of character that I would like to have played. That would have been more in tune with who I really was.

It's the difficulty we had with Mr. Bean, actually, when it went from TV to film. You certainly discover that you need to explain more about a character.

In a lot of ways, the make-up was the character.

The more we study the Indian's character the more we appreciate the marked distinction between the civilized being and the real savage.

So many people have said that to me, that what they really like about Alex is what she brings out in Marissa, and what this situation brings out in her, a hint of happiness and another side to her character.

I've been on the show for six years and I don't even know what her history is. I sort of make things up in my mind, but I think it's hard for an audience to follow and invest in a character when they don't have the details.

It is not true that drink changes a man's character. It may reveal it more clearly.

Because I killed a guy in real life, and because my character kills a guy onstage, they said I could never do anything this great again. I resented that.

Well, I go to the theater today, and its curtain - there is no curtain in this play; the lights go down and go up - and we start. And I live this character for two hours. There are only two of us in the play. And It's a complete experience.

I just kind of understood it, and I threw my love for others and love for life into the character, and was having a blast. I loved playing Dharma. I loved it!

I think if you play a character that is fearless, then it's boring. I think that's what was so incredible about Harrison Ford, is that he always seemed like he was never going to survive it, he's always scared, and yet he always does survive it somehow.

If you look to lead, invest at least 40% of your time managing yourself - your ethics, character, principles, purpose, motivation, and conduct. Invest at least 30% managing those with authority over you, and 15% managing your peers.

Every character I play has to be the hero of his own story, the way we're all heroes of our own lives.

To be a character who feels a deep emotion, one must go into the memory's vault and mix in a sad memory from one's own life.

Character is power; it makes friends, draws patronage and support and opens the way to wealth, honor and happiness.

You have to understand the tone of the movie, because if it's supposed to be funny, it can be funny violent like the Home Alone stuff, but you have to really understand the tone of what you're doing and make the action work for that and for the character.

In Shakespearean tragedy the main source of the convulsion which produces suffering and death is never good: good contributes to this convulsion only from its tragic implication with its opposite in one and the same character.

I feel like I'm the most well-adjusted character on the show, even though I'm sure the other actors would tell you the same thing about their characters.

And what's interesting about him as a comic character is that the custard pie hardly ever ends up on his face.

I worked on my voice for Sweet Dreams, but only to match my speaking voice to Patsy's actual singing voice. That was my way into that character.

I didn't want to be greedy. It's a mark of bad character and I always believed that pigs go the slaughterhouse.

The analysis of character is the highest human entertainment.