Bob Kane Quotes

Basically I started to jot notes, lots of faxes back and forth to my writer, we faxed ideas throughout the whole first draft, and started all over again.

I designed all the characters, anyway, and Frank Doyle was doing all the writing. I didn't have any more input on what direction they were going to go with Josie.

I love bouncing my words off of someone else's, and the fact that writing a story with someone else guarantees you'll get something you never, ever would have written on your own.

Lots of shows are written completely in the writer's room. And I wouldn't say 'The Walking Dead' is that way. There are three levels to it. There's us in the room. The writers going off by themselves. And me working with the writers on a finished script.

I have a producing partner named Stephen Hamel, and we've been trying to generate material.

It's much like writing a screenplay with someone else and that's how we view it, I think.

Jerry picked up the technique of visualizing the story as a movie scenario; and whenever he gave me a script, I would see it as a screenplay. That was the technique that Jerry used, and I just picked it up.

There's a fairy story called the 'The Shoemaker and the Elves' where this old cobbler keeps leaving leather out overnight and wakes up the next day, and there's a new pair of shoes. Co-authoring is a little like that. You send off the manuscript to your partner, and a few days later, you check your email, and hey, there's more book in here!

We got together as a group to come up with the idea for 'Toy Story 3' in the same cabin where we dreamed up 'Toy Story.'

A lot of times, people assume that I write all the songs: that I arrange them and I stick Kevin up there as kind of a puppet or something. It's absolutely not that way. In fact, he writes probably 60 percent of the songs, and I write probably 40 percent.

What I ended up doing was kind of crafting an idea for a story, presenting it to a writer - a dear friend of mine, Brad Mirman - and he ended up writing a beautiful script. I should've done that a lot earlier.

I don't start writing a script until I can see it all in my head, then it's a matter of getting it down in white heat.

My stories run up and bite me on the leg - I respond by writing down everything that goes on during the bite. When I finish, the idea lets go and runs off.

My writing process often begins with a question. I write down ideas and let them stew for about a year. Then, when I sit down to write, I make a list of characters and try to see how they fit.

Only in novels can we take another human being into our head and create something jointly.

Fortunately, John Houseman is a marvelous writer and he sat in on so many story conferences. He worked with Welles, you know, and he's a marvelous man.

I never think of an entire book at once. I always just start with a very small idea. In 'Holes,' I just began with the setting; a juvenile correctional facility located in the Texas desert. Then I slowly make up the story, and rewrite it several times, and each time I rewrite it, I get new ideas, and change the old ideas around.

One day I had an idea for a movie. Everything came after that.

The director in TV and the writer and the creator are working very much hand in hand.

I think books and movies are going to go a long way together in the future. I think we writers are very important material for directors.

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.

One of the nice things about the world of filmmaking is that you make friends in the business. Sometimes directors feel a script needs something, but they're not sure what it is, so they show it to a friend; if the friend is a writer, he ends up kicking around with that script for a while.

I should tell you that many people think that authors just cut and paste from real life into books. It doesn't work quite that way.

Writing film scripts is the hardest thing in the world. A script has to go to five or six drafts, and you need the feedback of other people and to keep coming back with a fresh eye, honing it down.

I start with an idea that is no more than a paragraph long, and expand it slowly into an outline. But I'm always surprised by the directions things take when I actually start writing.