I'm lucky. I don't have to produce the whole movie. What I've been doing is just coming up with ideas for movies. I write a concept, a treatment, an outline, and if I sell that to a studio, then someone else does the actual production and I go on to another project, although I keep the title executive producer.

Luck is one of the most important things in the world and really has a role to play in everything, and in marriage, I've been lucky enough to be married to the same girl for all these years.

I couldn't say no when I received that offer [to re-invent the DC characters]... How can any writer say no to the opportunity of redoing every one of DC's top superheroes?

I hated teenagers in comics because they were always sidekicks. And I always felt if I were a superhero, there's no way I'd pal around with some teenager, you know.

Comics are stories; they're like novels or anything else. So the first thing you have to do is become a good storyteller.

Everything has changed and we're all living in one city now. What happens somewhere affects things everywhere, so I have to be careful and whatever stories I work on, I want them to have redeeming moral values.

Once, I'd written a Western story, and one of the panels was just a hand holding a six-shooter, and there was a puff of smoke coming out of the barrel, and a straight horizontal line, indicating the trajectory of the bullet. So that page was sent back to me from the Code office, saying that the particular panel was too violent. I asked them what they meant, and they told me--I swear--"The puff of smoke is too big." Well, of course. So I had the artist make the smoke a little smaller, and the youth of America was saved.