One of the things I like to do is people's hearts are on their sleeve, whether it's a good or a bad heart.

Before the TV show of Jessica Jones, the response to Miles [Morales] is so overwhelming, and so constant, and it's been five years now. I can't even express to you how powerful it is on my end. It's overwhelming how much it was needed, that I didn't know that's what was needed.

I have a very strong color theory, for instance, where in 'Powers,' green means powerless, and red means power.The story was all there, but I was desperate to make sure that extra level was the case.

The only damn thing I ever learned in all my years in art school was a piece is never done, it is just finished. You have to trust your inner voice, your instincts, when they tell you pencils down. And you roll up your sleeves and you start over again.

I'm wired with a little bit of self-loathing, not that kind of self-loathing that paralyzes me, but it's there. The things I'm most loved for are sometimes the things that annoy me, not my favorite stuff, but those flashes of genius moments, they're called, I rarely see them as a one eureka light bulb idea.

I see this with experienced writers, too: They worry so much about the plot that they lose sight of the characters. They lose sight of why they are telling the story. They don't let the characters actually speak. Characters will start to dictate the story in sometimes surprising, emotional, and funny ways. If the writers are not open to those surprises, they're going to strangle the life, spark, or spirit out of their work.

If you're miserable and someone flies by looking like they have everything in the whole world and it's never going to be you, that's tough to deal with.