A Quote by Jim Starlin
There's a character, Eon, I did back in the 'Captain Marvel' story. Eon came from a greasy smudge on a paper bag inside my kitchen being used for garbage. I went and got a paper and pencil, drew it up, and he became a character in that story. Things come from everywhere.
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What drew me to Batman in the first place was Bruce Wayne's story, and that he's a real character whose story begins in childhood. He's not a fully formed character like James Bond, so what we're doing is following the journey of this guy from a child who goes through this horrible experience of becoming this extraordinary character. That, for me, became a three-part story. And obviously the third part becomes the ending of the guy's story.
I would run into the corner store, the bodega, and just grab a paper bag or buy juice - anything just to get a paper bag. And I'd write the words on the paper bag and stuff these ideas in my pocket until I got back. Then I would transfer them into the notebook.
I was given some designer colors for ink pens a long time ago and I haven't used them, and I have some handmade paper, and I just have the desire to drip on wet paper. It reminds me of when I was seven years old and had my tonsils out, and one of the first artworks I made was on toilet paper with a colored pencil; it was sort of half paint and half colored pencil. But I got very involved with color and absorption and I think, you know, 78 is a good time to go back to the beginning.
I drew a picture on the back of a calendar in pencil. In those days they used to give out free calendars, I had no art paper, so I took whatever else I could.
In the case of 'Blood Stone,' the producers, EON, Michael Wilson, Barbara Broccoli, David Wilson and Gregg Wilson, had an idea for a story and had a lot of it done. And I came in, worked with them, fleshed it out.
When I feel that I'm going to write a detective story, I buy a five pound box of chocolates and a ream of paper. When the candy is all gone and the paper all used up, I know that the book is long enough.
Every character I've had in my act - none of them have a similar creation story. I actually thought up Peanut and designed him in my head. I described him to a woman that was making soft puppets and she drew up some sketches. And the character came to be just because he popped into my head.
Even if you got rid of paper, you would still have story-tellers. In fact, you had the story-tellers before you had the paper.
Writing is truly a creative art - putting word to a blank piece of paper and ending up with a full-fledged story rife with character and plot.
I used to get stuck trying to find the first sentence of a story, then I realised that it was often because I didn't know what problem a character was facing in the story. As soon as I did, I could have the character trying to do something about it or have the problem whack him between the eyes.
Every headline in the paper, I don't write them. My story's inside the paper, not the headline.
I was really relieved not to have to drag something in front of the camera; I could use a pencil and paper. A regular pencil and typing paper. That appealed to me.
Any character that you come up with or create is a piece of you. You're putting yourself into that character, but there's the guise of the character. So there's a certain amount of safety in the character, where you feel more safe being the character than you do being just you
If the point of life is the same as the point of a story, the point of life is character transformation. If I got any comfort as I set out on my first story, it was that in nearly every story, the protagonist is transformed. He's a jerk at the beginning and nice at the end, or a coward at the beginning and brave at the end. If the character doesn't change, the story hasn't happened yet. And if story is derived from real life, if story is just condensed version of life then life itself may be designed to change us so that we evolve from one kind of person to another.
For Marvel, we've never looked at any of our characters in terms of gender, race, or religion. It truly is about, who is the best character for the story? If that character happens to be a woman, fantastic.
I remember attending Toronto Comicon shortly after the release of Captain Marvel and seeing a five-year-old girl who'd come in a handmade Captain Marvel outfit with her hair moussed up - and I totally got the need for this book, for this hero. Someone who looks like her, and acts like her. So, in a way, Captain Marvel helped pave the road to the expanded role of female leads.
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