I did the figure of Diana in V, a cult TV show seen all over the world.
If Im in the bookstore, and I see a 700-page novel, my first thought is, Ooh, how could you cut this down to size and make a movie out of it?
It's okay to lie as long as you reach a higher truth doing it.
I think there's something strange about writing a script I've written many, many scripts - dozens and dozens of scripts - and every time I start one, I think to myself: 'why in the world do I think I know how to do this?'
As much as I love period movies and especially more swashbuckling movies, I think that sometimes they tend to be, umm. . . it's hard for the audience to relate to them.
I worked as hard to write the worst film of the year as I did to write the best film of the year.
I write R-rated action dramas, and every year that goes by, that gets to be a smaller and smaller world you have to work in. You have to think of how to get the studio excited and sell them something.
The complexity of the situation of having a war going on around you and what that delivers to you is that you have to figure out which side to take.
I must cite an intrinsic condition of the universe. We set forth in any direction which seems convenient; each leads to the same place: the end of the universe.
He who does nothing renders himself incapable of doing any thing; but while we are executing any work, we are preparing and qualifying ourselves to undertake another.
If there's any sort of superpower we desperately need right now, it's this transcendental force that reminds us of union and connection. I think that superhero stories come from somewhere. We make these aspirational images, to remind us that we have this capacity in ourselves already. I think that electricity can run through disconnected wires. Superheroes, every single one of them, come from the world of imagination and they're played by humans, they're written by humans, and it's in the belief that we invest in these characters that they come to life.