A Quote by Cliff Chiang
What impresses me the most about DC characters is how long a lot of them have been around.
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The questions that we scientist have about Saturn's rings are the questions that an ordinary person might be moved to ask when first seeing them, you know. What caused them? How did they get there? How long have they been around? How long are they going to last?
The decision to work with Marvel for a while isn't any sort of denigration of DC. I had a fantastic time there, I was treated extremely well, I have strong positive feelings about all of my editors and the DC universe of characters, and I look forward to hopefully working with them at some point down the road.
This year, I'm most thankful for the people around me who've supported me—my friends, and my family and boyfriend. It's been a really crazy year. There have been a lot of changes with moving to America and a lot of adjustments for my family and friends in Australia to let me go off on this journey and miss me a lot. I miss them a lot, but am so grateful for them.
There are not a lot of things that Andrew Luck can't do, but the thing I like about him is his work ethic. He's a workaholic, and that's what impresses me the most.
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?
The characters I've played that I like the most are people that have a lot of obstacles. They have a lot of bad things going on. They're seeking to do something good amidst all the detritus around them, and they're aware of how badly they've screwed it up. That kind of self-awareness is tragic.
One of my favorite things about the DC Universe, growing up as a reader, was just how big it was and just how many characters and superheroes there were. And how many odd characters there were.
I'm drawn to real-life characters. A lot of the characters I play, I've had in me since second grade. I've been dragging them around my entire life, and then sometimes I marry them with different people. But seldom have I really come up with a new character. In my head it's like, "I'll pull that person out that I've been doing since sixth grade and see where they're at right now.".
There's immense fun to be had as long as you can sort of sneak it past DC. I have been told on occasion that I need to have more respect for these characters.
Mac Dre has been around a long time. E-40's been around a long time. JT the Bigga Figga, Rappin 4-Tay. There's been a lot of guys that been around a long time, but they all grew up listening to Too $hort.
For the most part, my characters don't talk to me. I like to lord over them like some kind of benevolent deity. And, for the most part, my characters go along with it. I write intense character sketches and long, play-like conversations between me and them, but they stay out of the book writing itself.
When you begin a play, you're going to have to spend a lot of time with those characters, so those characters are going to have to be rich enough that you want to take a very long journey with them. That's how I begin thinking about what I want to write about and who I want to write about.
When I write Superboy and other DC characters, it's about boiling them down to core concepts.
I have a brilliant sound design team who's been working with me since 'Mr. Robot,' and one of the things we always think about - and it's also something we think about with cinematography - is how we get inside the characters' heads and how do we place the audience where we want them to be or how we want them to feel at any given moment.
The general public has been conditioned to think 'comics = superheroes' for as long as caped crusaders have been around - by critics, mass media, and Marvel and DC themselves, who have what you might call a vested interest.
I will do plays as long as they're interested in having me do them. It's the biggest opportunity to learn the most about how to act. Something I discover every time I'm doing one is how little I know about acting - how important the art of listening is, and how important it is to listen with your entire body. You can tell so much of a story with stillness, and a lot of that can be from really actively listening to your scene partner.
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