Nothing is more intolerable than a wealthy woman.
The thing that's been exciting about 'Superman' is to see how the character has developed through generations.
We love our superheroes because they refuse to give up on us. We can analyze them out of existence, kill them, ban them, mock them, and still they return, patiently reminding us of who we are and what we wish we could be.
The interior of our skulls contains a portal to infinity.
Gayness is built into Batman. I'm not using gay in the pejorative sense, but Batman is very, very gay. There's just no denying it. Obviously as a fictional character he's intended to be heterosexual, but the basis of the whole concept is utterly gay.
American writers often say they find it difficult to write Superman. They say he's too powerful; you can't give him problems. But Superman is a metaphor. For me, Superman has the same problems we do, but on a Paul Bunyan scale. If Superman walks the dog, he walks it around the asteroid belt because it can fly in space. When Superman's relatives visit, they come from the 31st century and bring some hellish monster conqueror from the future. But it's still a story about your relatives visiting.
We tell our children they're trapped like rats on a doomed, bankrupt, gangster-haunted planet with dwindling resources, with nothing to look forward to but rising sea levels and imminent mass extinctions, then raise a disapproving eyebrow when, in response, they dress in black, cut themselves with razors, starve themselves, gorge themselves, or kill one another.
Appearances are a glimpse of the unseen.
Once in a while, I try to sneak in something less known anyway.
We've figured out our roles: I wanted someone to take care of the male roles - the big stuff - and Laird [Hamilton] does that very well. I'm here to be the mom and make it better for him, and that's my choice.
I am always concerned with ideas of territory and movement. Indeed, my first book after Bunker Archeology was entitled L'insecurite du territoire (1976).