A Quote by Andrew Kreisberg
One of the best decisions we made on the 'Arrow' pilot was to have the Deathstroke mask. Within 30 seconds, you knew you were watching a DC comics show.
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I had done a couple TV pilots, and a friend of mine wanted to leave comics and come work in Hollywood, and I said, "Well, you've got to understand that when you sell a TV pilot, imagine if you turned in the best issue of Batman ever, and DC was like, 'Well we love this, but we can't publish it because we have to publish this other thing by this other person." The odds are really long on getting anything made, so if you come from comics and you're still making a living in comics, that really helps because you're not desperate for someone's permission to write for a living.
When I sit down to write, I know everything I need to know... I start writing, and within 30 seconds or 60 seconds, I'm watching a movie. I'm not making this stuff up; the characters are acting it out,and I'm just writing it down.
Literally, when the pilot came out for 'Glee,' I think we had a watching party or something. We were all seniors, and everyone all of a sudden in the show choir were so excited. We were like, 'This show is awesome. It's so cool. This is exactly us.'
When I directed the pilot for 'Smallville,' I knew that making Clark Kent relatable would be the key to audiences believing in him as a hero. 'Arrow' is a different show - darker and harder-edged - but it's the same core idea.
I wasn't terribly aware of Catwoman. She was a DC comics character and as a kid, I wasn't terribly fond of the DC comics characters. I was a Marvel boy.
When I was younger I wanted to be an airline pilot, but that lasted for about 30 seconds.
I'd still stand in line all day to get into an AC/DC show, because that was the one show when I was younger that kind of changed my life. Because it was a little wrong. I think I was 14 or 15, first concert without the parents, you know, and they were all worried because we were going to an AC/DC show, and it was an amphitheater.
There were moments where Supergirl gets a thrashing in the pilot, where if a man in the 'Flash' or 'Arrow' pilot got beat up, people didn't visibly wince. And I watched in testing, people in the audience really became uncomfortable by the fisticuffs and the action. But then, they were elated and cheering at the end.
Nobody ever asked me to do anything. Nobody knew what to do. When comics were brand new, nobody knew what kind of comics to make. So you were mostly on your own.
At DC Comics, it has been a top priority that DC forges a meaningful, forward-looking digital strategy.
Zeroes are important. A million seconds ago was last week. A billion seconds ago, Richard Nixon resigned the presidency. A trillion seconds ago was 30,000 BC, and early humans were using stone tools.
Fortunately, the DC Universe is full enough and replete enough with every kind of character that you could want, that it's not that hard to find the right character. Sometimes it's nothing more than an Easter egg, or a name drop, and sometimes it's someone like 'Deathstroke,' who is a huge part of the DC Universe.
Our goals were and are to be sure that we set up DC Entertainment to be more integrated and more cooperative within DC as well as in Warner Bros.
It's always interesting for me to watch the pilot of an established show because you see how the writers and actors weren't really sure what the show was and what the dynamics were. If you look at the pilot for 'Seinfeld,' for example, it's practically unrecognizable.
The good part of what comics trains you to do is it trains you - especially if you've worked in mainstream comics like Marvel and DC, or if you're just doing your own independent comics - to compartmentalize things and work on multiple things at the same time. And that's a skill that is incredibly handy in Hollywood, because within the first year that you get here, you realize there's a reason why every successful person in Hollywood has like seven or eight projects up in the air at any point.
After graduating college, I finally allowed myself to strive for what I loved to do, even if there were no guarantees that I would be able to make a living off of acting. This, combined with my life experiences prior - like stars aligning - led me to this lovely role of Katana within the DC Comics universe.
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