You can read a Shakespeare play, but does that mean you wouldn't want to see it on the stage?

My problem is I don't see and hear that well, so when I go to the movies, I can make out what's going on, but I can't hear what they're saying. And after the movie, I have to ask whoever I'm with "now, what was that all about?"

Once you get the script, you then hope you can get the director that you want. Then you hope he can get the cast he wants. Again, you can go quickly or there can be a million stumbling blocks. There's just no way to know.

It's a tremendous challenge, because there have been so many characters created over the years. Every time you think you come up with a great name, you find out somebody has already done it. Dreaming up the stories isn't that hard, but coming up with a good title is the toughest part.

I am very lucky because everything that I do is exciting to me. It's always new.

From 1940 to about 1960, I had been writing just regular comics, the way my publishers wanted me too. He didn't want me to use words of more than two syllables if I could help it. He didn't want me to waste time on worrying about good dialogue or characterization. Just give me a lot of action, lot of fight scenes.

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.