A Quote by Kevin Feige
I've always believed in expanding the definition of what a Marvel Studios movie could be.
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I found that the artist market was expanding in comics. Marvel was going from something like eight books a month to somewhere in the 20s. As a result of this expansion, Marvel, in particular, was hiring anyone who could hold a pencil. That's how I got my first job there.
Marvel has, like, 9,000 characters. They could do a horror movie tomorrow and call it Marvel. They can do anything.
Marvel Studios has depicted the Marvel superheroes so beautifully that the whole world loves them.
There are studios out there and we have met them who take the movie away from the filmmaker and don't want them to have input. But that's not with Marvel.
One of the wonderful things that I've always loved as an art student, what I always loved about comics, was that they are interpreted differently by different graphic artists all the time, so now film is doing that thanks to Marvel Studios.
I went to underground music studios. In the studios, I learned that you can make a movie without a permit.
Movie studios, Hollywood studios, by and large are not making the kind of movies that I go to see.
If I was in some Marvel movie and made all that Marvel money, you wouldn't see me ever again.
I was pretty confident that I'd be playing something, if James Gunn could convince Marvel Studios and Disney to cast me. He's involved with the casting too, but if he could convince them to go along with him and agree with getting me on the roster, then yeah, I would have voiced Groot. Not a problem. Groot is an awesome character.
If I was one of the leaders...if I was just a leader of one of these studios what I would do is I would go to all my cohorts who run other studios and say let's make a deal. Let's each of us make three 3D movies a year or whatever the number is. Let's not take every movie and make it a 3D movie. Let's take our three tentpoles or whatever movie it is so you have a specialness to it.
There are times when you need to step back and realize that movie studios today are not necessarily the same things that they were many years ago. Many movie studios are international conglomerates now. They own everything from theme parks to toy companies to T-shirt companies to video companies. There's a lot of different wheels to be greased.
When I did 'The Passion,' nobody believed in the movie. Everybody was telling me, 'You shouldn't do this movie... But I wanted to play Mary Magdalene. I thought that I could do something strong and deep with this character.
Growing up, I would watch a movie on video and would go to the back of the VHS and locate the address for Universal Pictures or MGM or whatever. I'd write to the studios asking them if I could be in a movie. They never wrote me back.
When I was there at Marvel, everybody thought if you could draw well and you could do sensational panels, that you were going to be a success. The truth is that no matter how good or bad you are as a draftsman, if you can't tell a story, you don't last in comics. ...About halfway through my stay at Marvel, I realized I was being paid to tell a story, not do a drawing. That's why my stuff is always rather simple and uncomplicated compared to a lot of guys.
My father believed in moving on with time; he always said that the show must go on, come what may. That is exactly what we did when it came to RK Studios.
My definition, the definition that I've always believed in, is that esprit de corps means love for one's own military legion - in my case, the United States Marine Corps. It means more than self-preservation, religion, or patriotism. I've also learned that this loyalty to one's corps travels both ways: up and down.
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