When you are dealing with approximately two-plus hours every few years to do a story, you don't have the luxury of having excessive screen time to explore, in detail and in-depth, lots of other subsidiary or ancillary supporting characters.

I think it's one thing if you are turning out dozens or even a hundred stories a year, you've got to have a great supporting cast behind you. Superman had a family that developed, and it's only natural that Batman has a family of sorts that developed. I think it's a great way to keep the comics interesting and varied, to appeal to different segments of an audience, to bring new perspectives to it.

They [comic books] are not a genre, they are not something to get hot and cold from one year to the next, they're the exact same thing as books and plays: they are a source of great stories and colorful characters.

Doors will slam in your face. You must pick yourself up, dust yourself off, and knock again; it's the only way to achieve your goals in life.

I think every filmmaker makes different choices. I remember in the early days, in some of the early comic book movies, certain white dissolves were used that would try to emulate the look and feel of comic book panel borders. Sometimes they would frame shots in panels or circles that gave it a real comic book feel.

In a sense, comic books are frozen movies. If you look at a comic book, you are generally seeing the storyboard for a film. The great advantage of comic books, over the years, has been that, if they are frozen movies, they are not limited by budget. They are only limited by imagination.

To keep the readers interested, and coming back, and to keep coming up with new and exciting ways to present stories and to present the character in a reflection of the times, is an absolutely incredible accomplishment. Hats off to all these people who have done such incredible creative work and still do every week.