Action films can be like watching paint dry. You can just die in the trailer waiting for them to set up a shot, then you go out for a few minutes or an hour of endurance testing.
I kind of hate over-explanation in comics.
I guess I am conscious of my weaknesses, and I think pacing is probably my biggest. I don't know if I think the clarity thing is actually a weakness. It was a stylistic choice.
The danger of writing a so-called thriller is that in your last 100 pages, all of these really interesting characters you've created are just running away from something or toward something, but they're no longer capable of innovation or discovery.
These 150-minute superhero films that Hollywood is making are so concerned with their length that each scene doesn't have the time it needs to make sense.
One of the traps or the pitfalls of writing a trilogy - or a triptych, or whatever term you want to use - is that the second book can be a long second act to get you from book one to book three, which borrows all of its energy from the first book.
Most people are used to the T.V. comedy method of one joke every 18 seconds. And that's why it's not funny... There's no time for anything to develop.
One of the challenges with series TV is not to give everyone all the punchlines, all the gags and all the fun stuff at the top. Everyone is so anxious, for very good reasons, to hit the ground running, but I've been on the other end of that.
Almost every play is 10, 15 minutes too long.
I think sometimes when you have 24 episodes, you almost have to stretch things out too much.
I think audiences can feel when they're being served a filler episode.
