Brian Michael Bendis Quotes

I think it's always a challenge to adapt a beautiful literary work into a fresh and alive film.

I'm really interested with the way light plays on images and one of the artists that really reawakened my interest in comic books was Frank Miller and his treatment of Daredevil, and then Wolverine and, of course, Batman.

The mindset that I have on every project I take on is, 'How do I make this interesting enough for me to want to stop and look at it?' So in that regard, what I do behind the camera, whether it's still or motion picture, is the same.

To my mind, the most successful and the best comic book illustrators are those who translate the real world into a consistent code. If you look at Jack Kirby or Steve Ditko, their drawings look nothing like the real world, but they are internally consistent. In terms of a comic book it can work just fine.

Films are always different from books.

What made me want to go into doing comics was I was working as a laborer with my father, a gardener.

It's always difficult with the superhero stuff because you're working with characters who have been written by 100 to 200 people over the past 20 years, at least, so they never sound the same or act the same. The best approach is to try to draw the best fitting line through all of the interpretations.

I had to find my way of translating the excitement you get when you're reading comic books to the big screen.

What I think happens, and that you have to acknowledge though, is that a director uses a book as a launching pad for his own work and that's always very flattering.

In my head, scenes are shot from certain angles; there are camera pans, all of that kind of stuff. Converting those visuals to comic format was mostly a matter of adapting them to the rhythm of paneling.

I have this certain vision of the way I want my comics to look; this sort of photographic realism, but with a certain abstraction that comics can give. It's kind of a fine line.

People said that 'Fight Club' would be impossible to turn into a movie, but I think David Fincher loved that challenge.

I had written for the theater and didn't know that I knew how to write for film. Ultimately, I think it's just trusting your voice, trusting your characters, and then telling them in a different medium.

You have to love Dr. Seuss to take on the responsibility of conveying his work in animation or any medium.

This is the launch of the 'Doctor Strange' film interpretation of - in my view - a classic, which has been interpreted many times by other graphic artists, and this is just our graphic interpretation of The Ancient One. I would say the whole approach is about a kind of fluidity.

The cinematographer's basically translating the director's vision into imagery.

There are usually three sections of people who like my work. There are those who like them aesthetically. They see beauty in the images. Second, there are those who like the horror aspect, which is by design, and I like that. Third, there are those who are moved by the historical or political nature of them. They want to talk about them.

I couldn't do a record without knowing I'll translate it into something visual.

To make a successful film from a successful play is probably much more difficult than making one from scratch, just as any carpenter will tell you that it is more difficult to restore an old house than to build a comparable new one.

I think it's really hard for filmmakers to adapt books.

We're pretty insane about art direction.

I'm always interested in using comics in different ways.

Writing and drawing comics for the sheer joy of it - that's true bliss.

The novel and the film of 'The Color Purple' are both works of the imagination that make claim to historical truth.

At 16, I was drawing cartoons, and I wanted to carry on being a cartoonist.