The appealing thing about comics: There literally is no budget in comics. You're only limited by your imagination.

I'm the one who started spreading that particular factoid, about Bendis, Azz and me all being bald Brian's from Cleveland, just to get my name mentioned in the same sentence as two much-better writers, and it's worked like a goddamn charm. Next up, I'm going to grow a big, disgusting beard, just so people will start talking about Alan Moore and me in the same breath.

In film, you have the luxury of accomplishing what you need in 24 frames every second. Comics, you only have five or six panels a page to do that.

I write the book for one person — for Fiona [Staples, the artist]. I spend a lot of time just thinking how she'll react to things and manipulating her into drawing perverse, horrific things. It's a really weird job but I enjoy it.

I think there is a possible future where maybe we do just take a hard turn away from the Internet and we do start valuing our privacy again.

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.

That was the appealing thing about comics: There literally is no budget in comics. You're only limited by your imagination.