A Quote by Glen Mazzara
The comic book, and I've said it before, is a treasure trove. It's a grab bag. We certainly have characters and story lines that we really want to do - but to get there in a TV series, you have to take your time. Sometimes you can't get right to it. They're two different mediums. So we make it our own and really own the material. I like to think of it as an alternate universe.
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There's something really cool about TV. TV, you get the luxury of having the same people around. It is such a blessing when you get a TV job. You really have a chance to get to make, like, work friends. I think TV is one of the few mediums where I've had the opportunity to get to know my crew members.
Most of the time, with voice-overs, you're recording before they've got the graphics, and you also don't get a whole script. I get my lines, as I show up that day. You don't know what the rest of the story is, so you really rely on the people in the room that you're working with, so they can fill you in on what's going on, right around your particular lines.
When I was developing the [TV Series "Daredevil"] idea, we were really doing something closer to what was in the comic book. By that, I mean in terms of civilians in the street knew that superpowers were an everyday matter of fact. When it finally ended up at Netflix, they really decided to land it in the Marvel Universe that exists in the cinematic universe. That changes the story entirely. It was no longer about the other, which is what that metaphor was. It's really more about the character herself, which I love.
Every so often you get to play wonderful characters maybe at the wrong time in your life. Sometimes, you get to play terrible characters at a really great time in your life. Sometimes, the right character comes along at the right time.
If you get the characters right you've done sometimes nearly half the work. I sometimes find I get the characters right then the characters will often help me write the book - not what they look like that's not very important - what people look like is not about their character. You have to describe the shape they leave in the world, how they react to things, what effect they have on people and you do that by telling their story.
We have a whole other division, where we actually literally take the comic book and animate it. Our feeling was that, if this was going to be our show and that it was going to be a brand new show, it has to be more adventures with these characters, in the same way that, through the years, there have been long runs on the comic book series. It's the same characters, with different voices, along the way.
I want to make sense of things, to understand the world, but my work is never really instructional. I have no wisdom to impart or give, so I think my dream readers would be people who just use the book as an excuse to get into their own cycle of thoughts. The book is just like a map. It's just a jotting-down of things that you can interpret in your own ways.
A lot of the book [The Yoga of Max's Discontent] is about karma and rebirth. Things like that are very attuned to my life as an Indian, but when I approach it from a perspective of a Westerner, then I have a skeptical, yet kind of novice view on it. I think that choice really liberated the story to be its own story. A lot of the conclusions that Max reaches on his own are not mine at all. So, I think that allowed the story to take on its own momentum, to have its own propulsive force.
I think up to this point, it's been difficult to suggest a world where Batman and Superman and Wonder Woman and others could exist in the same universe. That was one of the things I really wanted to try and get at. Not to mention, the amazing opportunity to bring those characters and have those characters tell an important story, their own story, within the confines of a film.
I used to write in school a lot; I always liked it and used to write on my own, comic books, come up with alternate story lines to the stuff I watched and read, a lot of books and TV, episodes of 'Twilight Zone.' I didn't think about it.
After we'd filmed one series of 'Kiss Me Kate,' everyone was saying: 'The guy's got great comic timing,' - that was the first I'd heard of it. I'm not a comedian, I don't want to depend on a singular box of tricks. I like story and characters, to take on world views that are not my own.
I'd like to think that I don't have a stock character that I go to. I'm lucky in that when you get to initiate your own scene, you get to play whoever you want. That's really kind of cool, but all my characters are short. I look on the videotape, and I thought they were taller, but they're all 5'2".
I think we all get our own bag of hammers. We all get our own Parkinson's. We all have our own thing. I think that we'll look at it through the filter of that experience, and we'll say, "Yeah, I need to laugh at my stuff, too."
I've found great virtue in two-thirds of the way into the message; right before I'm really want to nail home a point, pausing to tell a joke or to tell a light-hearted story, because I know my audience has been working with me now for 20 or 25 minutes. And if I can get them to laugh, get oxygen into their system, it wakes up those who might be sleeping, so there's something about using a story to draw people back in right before you drive home your final point. In that case I think it's real legitimate just to use a story for story's sake.
Comic book characters are characters who wear costumes. They're not necessarily different than other characters. The trend I think that you're seeing are comic book movies, at least the ones that Marvel makes, don't have comic book stories. They have dramatic human stories.
Casting is really a black art. It's a huge part of directing and it's the most invisible. It's one that people don't really think about or talk about. But you can really destroy your movie by casting it badly before you've shot a foot of film. And yet there are no guidebooks for it, there's no rule book to tell you how to do it. It's all your own experience and your own sensibility and your own intuition.
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