I was on the set of the first Powers pilot, and an actor of color came up to me and said, "When I was a kid, my friends wouldn't let me play Batman or Superman, because I wasn't their color. But they would let me play Spider-Man. And that's the difference." And I realized I had heard this story a hundred times from different people, but I wasn't there in my head yet.

I couldn't take my eyes off of Stan [Lee]! As good as the movie is, all I could think about is, "What's he thinking?" So the movie ended, and then he, very whimsically, expressed all of his feelings about how long he waited, and how the TV shows in the '70s were all, "If only they could do this," and now they could. And he didn't get choked up and blubbery, but he was moved. Like, "Ohmigod, it happened while I was alive." And I can't believe I got to see that. He was very raw. It was quite beautiful.

And I had worked at the comic-book store almost by accident, because I was deciding to make a living as an artist, be it as an art tutor or illustrator, and that's how I wanted to make my living.

The trick is not caring what EVERYBODY thinks of you and just caring about what the RIGHT people think of you.

When it was announced that Spider-Man was going to be in Captain America: Civil War, "Miles Morales" was trending on Twitter for like a week. More people than I ever thought had heard of it. Listen, people go to Build-a-Bear and make your Miles Morales Build-a-Bears and tell everybody that's what we want!

From my personal taste, it needed more of a visual style. It's so hard when you're adapting something that's so visually scrumptious like Mike Oeming's drawings. They're so unique to comics, but they're a voice.

In the history of comics and movies and music too, it's always when things are at their bottomed-out, either creatively or financially, there's more chance-taking going on.