Comics are expensive. Don’t make me resent the money I spend buying yours. Every single moment in your script must either move the story along or demonstrate something important about the characters — preferably both — and every panel that does neither is a sloppy waste of space.
I always get quite close to my script because I work quite hard on them.
Not every script that rolls in is ready to shoot. Few are, actually. So you go back and work on the thing.
Every script always goes through rewrites so that everyone loves it.
Good scripts that are offered to me are few and far between, so I pick the best that I get.
The key is, if you're not monkeying around with the script, then everything usually goes pretty well.
I think of myself as a problem-solver. I want to go in and help the director and the writer to get the best they can out of the text they're working with.
You have to constantly work on your script if it needs it. You don't accept, 'Oh, I did a draft and...' No, it's your responsibility to work on the script as much as possible and make it better and better.
