After 9/11, I knew I wanted to write about power and identity and the way Americans on all sides of the political spectrum often mythologize our leaders, which are themes that the superhero genre has always handled really well.

I'm really happiest living life 22 pages at a time and putting things in little boxes on pages.

The longer I've been writing scripts, the more I find that you have to give the artist more leeway or else you'll just be disappointed. You can't force them to draw every image that's in your head. Since I'm a horrific artist, I wouldn't want them to anyway. So I definitely give them a lot more leeway now than I did at the beginning.

We're not trying to be deliberately frustrating, but we are laying the tracks for a mystery, and it's one that we have all figured out. We wanted this to be kind of like the way that Cliff [Chang] and I felt about the Cold War in the '80s when we were 12.

Doesn't matter if it's personal or professional, a good partnership takes work.

After 9/11, I knew I wanted to write about power and identity and the way Americans on all sides of the political spectrum often mythologize our leaders, which are themes that the superhero genre has always handled really well.

I just want to take a realistic look now, now that we have enough distance.