In a movie, you have to be mindful that no budget is going to be able to deal with running around the globe at every whim of the writer.

I've had a real lucky time working in Hollywood. I've talked to other screenwriters, and they're all kind of beaten down and their spirits are crushed, because they work on these screenplays and these projects, and then directors either take them and change everything, rewrite them and make them worse, or they film them and they're nothing like how they imagined it to be.

My feeling is that it's one of the very few things that comics can do that you really can't do in any other medium. I feel like the reader accepts all of these styles, and after a certain point you can flip the pages and see a character rendered very differently than you saw on an earlier page, and it's not jarring. It suggests things that you can't suggest just in the writing or in the plotting.

I was 30 before I made a living that was not embarrassing.

Writing a screenplay, I'm like, "All I'm responsible for is that final script, and I take great effort and pride in that." But once I give it to someone to make, I can disassociate with it entirely and not worry that my vision isn't being represented, because I understand fully that that's not how it works.

I love the medium and I love individual comics, but the business is nothing I would be proud of.

I believe in the transformative power of cinema. It is only through this shared dream-experience that we can transcend the oppressive minutiae of daily existence and find some spiritual connection in the deeper reality of our mutual desire.