The drawing and the crafting of the story are fun, but it's the overall meaning that matters to me. It might escape some people who just want to read a comic, and that's fine. The overall meaning is what matters.

I 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."

Write. Write every day. Write honestly. Write something that doesn’t exist, and you wish did. Read. Learn. Study. Watch people. Listen to what they say, listen to how they say it and listen to what they do not say. Surprise yourself. Scare yourself.

Reading Homicide by David Simon was the first time I said, "What if this was in a world of superheroes?" That was a very good idea. What if Chinatown took place in a world of superheroes, that became Jessica Jones. Just things that I love, you can match up the genres and have fun with it, those moments.

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.

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

The one thing that Jessica [Johnson] and Miles[Morales] have in common is that there's a great many people in the audience who were desperate for that kind of material. They didn't say anything, didn't tell anybody.