A Quote by Mike Mignola
My thumbprint is on every single thing that happens with Hellboy. It was the hardest thing I ever had to do professionally, letting someone else draw the main Hellboy comic. He's so much mine. But I still have no intention of ever handing over the writing of the main Hellboy comic to someone else. That character is my baby.
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Hellboy was entirely the comic I wish someone much more talented than I was doing, because I would have been a huge fan of that comic. But nobody was doing it, so it fell to me to do it.
With Hellboy I am doing a comic-book movie. That's what's so great about being an actor: You get to do Meet Joe Black, and you get to do Arrested Development, and then you get to do Hellboy and Eloise, and The Sponge Bob Square Pants Movie. It's great. You get to play the field.
When I started the 'Hellboy' series way back when, I wasn't really thinking consciously about the humor, but Hellboy does have my personality, and that's an important part of my personality.
'100 Bullets' is probably my favorite thing, ever. It's pretty close with early 'Hellboy' stuff.
My Hellboy is modeled on my father in some ways: a guy who's been in the Korean War, and he's traveled, and he's done a lot of stuff, and he's kind of got a been there, done that attitude. He's also been in the world. Del Toro's change was to have Hellboy bottled up in a room and mooning over the girl he can't have.
Things do look pretty grim, but I think there are more laughs in Hellboy in Hell than there are in B.P.R.D.: Hell on Earth. I think Hell is getting nicer and Earth is getting worse. Once we figured out what we were doing, the whole point of the Hellboy/B.P.R.D. stuff has always been evolution. The kind of evolution we're seeing on Earth is nasty evolution - part of this kind of evolution is that you have to wipe out what was there before you can replace it.
Everyone who's ever met Guillermo Del Toro knows that he's the most generous, creative, mind-bogglingly wonderful man. And I was so lucky that he had seen Storytelling and he asked me to do Hellboy. And then I watched Devil's Backbone and I was blown away.
I looked at Tank Girl, which is the coolest comic, ever. The movie didn't make the comic book any less cool. The comic is still the comic.
I like monsters, and when the monster is a superhero, it's a byproduct. Like Hellboy, the Hulk, Man-Thing, Swamp Thing, Sandman, Constantine, Demon, Dr. Strange, Spectre, Deadman. Those are the superheroes I followed as a kid religiously.
The documentaries are one thing - I was highlighting someone else's work, someone else's genius. Once I had to find my own voice, I'm glad I was a little bit older and had some confidence and had all these great inspirations to draw from.
I always thought what if you took a myth of childhood like the tooth fairy and made it a central scary thing. We did it on Hellboy and we did it on 'Don't be afraid of the dark'.
I'm a lifelong movie addict, and one of my favorite projects is making replica props and costumes. Nearly every one of these - from R2D2 to Hellboy's revolver - ends with the paint job. And it's not just cosmetic. The paint literally tells a story: what this thing is made of, where it's been, what it's been used for, and for how long.
Hellboy is the first movie where both ends of the spectrum are combined
Hellboy is the first movie where both ends of the spectrum are combined.
For me, the hardest part is getting up and writing, that's the hard part. I always felt like I could teach someone to direct if I really had to. I feel like it's a skill that's passable, but writing... writing is the worst. That's what I'm doing right now, it's just the hardest thing that you'll ever do.
The thing is not to follow a pattern. Follow your own pattern of feeling and thought. The thing is to accept your own life and not try to live someone else's life. Look, the thumbprint is not like any other, and the thumbprint is what you must go by.
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