I don't see one as bring better or more literate than the other and there's a real buzz to not only writing about a character I love like Superman, but also writing something that kids can enjoy.

The books are all very, very different so the publishers really had to be different too.

I didn't break into comics to write fairytales or crime comics.

I wanted to portray very, very dark subject matter and a deceptively complex story in the brightest colours and simplest lines possible to leave the readers reeling.

I don't see one as bring better or more literate than the other and there's a real buzz to not only writing about a character I love like Superman, but also writing something that kids can enjoy.

It's been the most creatively liberating thing I've ever done and so I'm bringing some of that mad enthusiasm to Marvel for the next couple of years as they let me loose on some Marvel Universe titles you'll be hearing about soon.

Likewise, I see no shame in writing Captain America or Wolverine.

I spent as much time writing proposals in '98 and '99 as I did writing scripts.

I didn't want the headache of having a publisher reviewing everything I wrote in advance.

Being the first to do something like this also registers a lot of attention that the line might not have gotten if all four books had just appeared from one company.

At the moment, I have it planned as a six or seven year experiment, but the books will only ever appear in bursts like this every couple of years and only with the best quality artists.

We've had really good mainstream publicity for these books and both Wanted and Chosen were snapped up as movie deals before each series even ended so I'm honestly just pinching myself.

Artists, no matter how good their intentions, are always slower than they think.

The trick was really finding the appropriate publisher for each of the projects I'd devised.

Wanted has gone into second, third and fourth printings of the individual issues and the north American printings of Wanted #1 are now close to 100,000.

Their argument, and I think it's a correct one, is that they'll make more money from the trades and the hardcovers if nobody messes with the creative team.

I think American audiences are quite interesting in that they can handle almost any amount of violence, but the moment the violence becomes sexual violence it immediately becomes an issue.

I'm honestly as happy writing Superman Adventures as I am writing Wanted.

The breadth of the potential readership is also a factor.

I'd love to do something else for Avatar after this.

However, if I can expand this to Top Cow or Avatar I'm helping the sales, however small, on my Marvel books because I'm almost certain to pick up some new readers.

The animated books pay the lowest rates at the Big Two and you can forget about royalties.

Marvel books also feed into the smaller publishers and the fact that this is happening in the same month we're launching Ultimate Fantastic Four is no coincidence.

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.