Likewise, I see no shame in writing Captain America or Wolverine.

The big thing is it's a domestic drama. Everything else in science fiction tends to be high-concept. Really for the last 40 years or so I think sci-fi's been a little cold and a little inhuman quite often - certainly since the 1980s - and I really wanted to do something that almost felt like a regular, real-life drama but just set it in a sci-fi setting. I think the best stuff is always like that.

She was like John Rambo meets Polly Pocket; Dakota Fanning crossed with Death Wish 4.

The glass is always completely full-half air and half liquid.

Even when I was a little boy, when I was seven, I absolutely loved Wonder Woman, and I saw her as one of the superhero greats with Superman and Batman, and I think it's because she was her own thing. She always felt like the real deal the same way that Superman and Batman did. Whereas the She-Hulks and Spider-Women and all that kind of thing felt like a continuation of a concept.

I always think it's a mistake when you actually have to set books aside and actually sit down and research something. I always think they've got to come from within.

The success [of the X-Men], I think, is for two reasons. The first is that, creatively, the book was close to perfect ... but the other reason is that it was a book about being different in a culture where, for the first time in the West, being different wasn't just accepted, but was also fashionable. I don't think it's a coincidence that gay rights, black rights, the empowerment of women and political correctness all happened over those twenty years and a book about outsiders trying to be accepted was almost the poster-boy for this era in American culture.