These stories of people with unusual powers and unusual appearances, who do unusual things, people are always fascinated by them.

I had a publisher who felt comics were just for little kiddies, so he never wanted me to use words of more than two syllables.

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.

I've written so many things over the years that I don't want to go back to being just a scriptwriter. I'm in what I consider to be the enviable position of all I have to do is come up with the idea and write an outline that makes it seem like it's a viable idea that will interest people, and then other people write the scripts -- and I become the executive producer or the producer, depending on how much involvement I have, and I get a creative credit and then move on to the next project.

I always thought it was more interesting to think about Reed Richards. As you know, he had the ability to stretch, and sexually, that would seem to be a great asset in many areas.

I think if I were a superhero saving the world, I'd expect at least not to have to pay income taxes. I mean there should be something in it for a hero who risks his life to save mankind every day.

I am always nostalgic being in New York. Every neighborhood represents something to me. I lived here until I was 60 years old or so. So it was my life.