It's too theatrical not to express yourself constantly.

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.

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.

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.

One of the things I'm most proud of over the years, is time management and balancing family and work. Everyday, you just look at what needs to be done and do that, what needs to be done. That includes the idea that family is first, kids are first and when you're with the family, put the phone down, look them right in the eye.

It 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.

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.