This is something I learned when I was working at a newspaper: when you put something on paper, whether it's words or pictures, and it's staring back at the reader, they are now alone in the room with them for as long as it takes them to turn the page. Whereas on television, the images fly by.
Brian Michael BendisWith every script, I write a note to my collaborator that says: 'I write full script. But see it as a guide. You take us where we need to go any way you see fit. I tried to write something specifically for you. If you agree with my choices, fine. If not, you do what you have to do.'
Brian Michael BendisBut you have to look at your work with an honest critical eye. Work on the things that you need work on. Scare yourself. Surprise yourself. If you don't like the way it's going, you have complete control over changing the course. That's one of the best things about doing this.
Brian Michael BendisIt also helps that what Dan Slott is doing with Peter Parker in the comics has elevated him to something else, so that Miles Morales at the moment is the more traditional Spider-Man figure in the universe: the high school student trying to balance high school and superheroics, and he can't catch a break. That was Peter's role, but it's not his role anymore, and it's Miles' role. That was given to me, and it's pretty cool.
Brian Michael BendisI didn't know why I was coming to this room. Someone just told me to go to Sam Raimi's office. I knew that I uniquely had the comics version of his job, which was to take Spider-Man and put him into the modern day. But I thought, "Maybe he wants to tell me to cut it out." So I come in, it's in his office, and then Stan Lee comes in, and I'd only ever met Stan as a fan, not as a professional. And then they sit us down on a couch, and roll in an AV cart with a TV on it and go, "We're going to show you the first cut of Spider-Man."
Brian Michael Bendis