MARC GUGGENHEIM

That's one of the perks of my job, is getting to see what the Internet does.

One of the things I do well - I think, anyway - is combining different tones.

Everything is always on the table. I think it's one of the things that's made 'Arrow' special. But we also all collectively feel like 'The Flash' needs to stand on its own two feet, now that it's gotten its launch from 'Arrow.'

What I took away from my 'Flashforward' experience is that when you're doing a serialized mythology show, you put your foot on the gas, and you do not take it off.

I came up professionally as a lawyer, and when you're a lawyer, writing a 50-page brief in one night is just another day at the office. You learn to make choices really quickly, and you learn how to get thoughts down very quickly.

The one thing that's always very safe to say with 'Arrow' is never make assumptions.

I think 'Green Lantern' has the potential to be a very highly regarded superhero movie. We're approaching it with such respect and such care.

We're not militant, but there are certain things that are absolutely secret. There was a pilot printed on red paper, and I read everything on my iPad and have a scanner on my desk for these purposes. I scanned in the script, and red paper script scans in perfectly fine.

All of the stuff I can't afford to do on a TV budget, I just put into the comic book because you're really only limited in a comic by your artist's imagination.

I noticed that 'Lost' had sort of worn out our welcome; because of 'Lost,' audiences were no longer being patient with slow reveals: they wanted answers quickly, and they wanted story to develop much faster.

Every season, we spend what really should be our hiatus, and what really should be me relaxing on a beach, planning out the whole season.

The term 'Consulting Producer' is extraordinarily nebulous in TV, and it really means something different depending on the show and the specific circumstances negotiated.

If Hollywood is going to keep going, the writers need to be creatively fulfilled by creating their own things. We need to generate new ideas, so we're not always cannibalizing old ones.

I'm a huge fan of 'The Six Million Dollar Man' and I love the episodes where they would cross over with 'The Bionic Woman.'

Collider is a company that I formed with a movie producer, Alisa Tager, and we just wanted to create a place where writers could come and develop their ideas without a regard to limitations of form.

In the writers' room, when we talk about each episode, we first talk about the character journey of the episode.

Whenever you can manoeuvre your characters into a situation where they both have a good argument to make, you're on the right track.

One of the great things about the 'Arrow' crew is that no one is settling for what they did yesterday. They're always thinking about what they can do tomorrow.

As a fan, I want all of the Marvel TV projects to be successful. I am a comic book fan.

Obviously, I love superheroes; I love comic book characters, but I... I guess I've had a lifelong affection for comics, and while I love the characters so much, I also love the medium.

I'm not much of a salesman. I prefer the soft sell and the honest approach.

I happen to like dark, and I like the fact that 'Arrow' is a pretty dark show, particularly for a network show.

I actually feel like comic book movies need to be better than your average movie.

Doc Savage, Indiana Jones, Flash Gordon... these were the kinds of characters I was thinking about as I was developing Jonas Quantum because there aren't that many brand new characters being introduced anymore.

With comics, there's no budget. There's a budget in terms of you have to pay an artist and a colorist and all that, but you can do anything you want to do.