A Quote by Leigh Bardugo

The one part of the Wonder Woman' story that never really did much for me was Steve Trevor. — © Leigh Bardugo
The one part of the Wonder Woman' story that never really did much for me was Steve Trevor.
What I know of Steve Trevor is everything that I learned from 'Wonder Woman,' the television series with Lynda Carter. And I don't remember much. I do remember his uniform, though.
With 'Wonder Woman,' I did one story with Alex Ross, and I had a lot of fun doing it, but I don't think I could do a 'Wonder Woman' book on a regular basis, because there's so much history there and so much mythology and everything.
The Wonder Woman that you see in 'Batman v Superman' is a woman who has been around, and she's very experienced. She understands a lot about man. Whereas, in the standalone movie, we are telling the grown-up story, Diana becoming Wonder Woman, and this was a story that was never told before.
There aren't a lot of female story artists, and it's baffling to me. There are a lot of kids in school that are female and I wonder, 'Where did they all go?' People have brought it up, asking me, 'What did you do?' I don't really know. I puttered along, did my thing and gender has really never been an issue.
I believe in Wonder Woman and the true spirit of Wonder Woman, and I wanted to tell that story. I didn't want to make her an alt version of Wonder Woman.
I immediately felt better about killing him. I’ve never known a Trevor who wasn’t a total douchebag. It’s just one of those names that goes so nicely with selfish, arrogant, malicious behavior—and really, what did I know about this guy? Nothing, except that his name was Trevor and he’d been nabbed in the midst of breaking-and-entering. That was plenty.
Steve hadn't been to acting school. He had no preconceived notions. His background was exactly what you see on television; he's done that all his life. We thought we'd do one show. What happened was, it did really well, so we did a part two. And from then on, we found that Steve's natural behavior in the wild happens to be fascinating!
It's like there's something very maternal about Wonder Woman: when push comes to shove, if nobody else wants to do it, Wonder Woman would step up and take care of business. But she doesn't want to do it, and she would never take any delight in it. That's Wonder Woman to me.
Steve Trevor was dull and boring and I didn't like him much so I disposed of him.
I know I should be Wonder Woman. They need an international actress - a fresh face. They need a woman who's tall, athletic and dark-haired - and an actress who can play the part. That's me. So, I'm coming to L.A. to work hard and meet the industry. And if 'Wonder Woman' comes together, I want it.
I think Aaron [Sorkin] did a remarkable job of plucking Andy [Hertzfeld] out of [Steve] Jobs' story, to perhaps reflect back on Steve a sense of maybe some things that were missing in Steve's life. Andy, just by nature, is one of these straight shooters.
I find Jessica Jones a much more interesting character to write for than Wonder Woman. Wonder Woman is so noble and heroic, and I don't find that as interesting as one who's really damaged and flawed and has post-traumatic stress disorder.
I want to play Wonder Woman really badly. I want them to make the movie of Wonder Woman, and I want to play Wonder Woman so bad. Thatd be really fun.
So, it's always different. Some stuff, you want to do because it's a part that you've never played. It's always for story. Sometimes there's a story that you really dig, but there's no part that you're interested in. Sometimes you read a story and you say, "I could do that. I've never done that before. I could do play that part.
I wonder if he really could rationalize what I did to him, really treat betrayal like the slight transgression of a recalcitrant business partner. I wonder if I hurt him. If he can rationalize what I did to him, it’s easy to imagine how he rationalized what he did to me.
It's really the story of a young woman, or two women, growing up in Naples in a poor neighborhood. The way that they get out of it - or don't get out of it - that's part of it. But it's also the story of the mid-20th century in Italy so it's really like a social, historical and personal novel. I think that even though I didn't live in Italy in those years, it did cover that same type of generational upbringing that someone like me might've had in America.
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