Best 17 quotes of Ed Brubaker on MyQuotes

I had done a couple TV pilots, and a friend of mine wanted to leave comics and come work in Hollywood, and I said, "Well, you've got to understand that when you sell a TV pilot, imagine if you turned in the best issue of Batman ever, and DC was like, 'Well we love this, but we can't publish it because we have to publish this other thing by this other person." The odds are really long on getting anything made, so if you come from comics and you're still making a living in comics, that really helps because you're not desperate for someone's permission to write for a living.

It's a lot easier to make a living as a writer in Hollywood than it was probably 10 years ago, though there's still just as many unemployed people in Hollywood as there ever has been, but there's so many more avenues to sell things, because of digital, and Amazon, and Netflix, and all these different platforms. That's crazy and exciting in a creative way, and we'll see where that all stands five years from now. But on the corporate side, I still see that pendulum swinging back in that other direction, which is a little not comforting.

I vividly remember being in my mid- to late-20s. That part of life is very emotional, and exciting, and dramatic in a way that your late 40s are not. That's different and dramatic in other ways, but I wanted to tap into that angry youth vibe in Kill Or Be Killed that I remember feeling at that time, instead of my angry middle-aged vibe that I've been churning out for a few years.

The good part of what comics trains you to do is it trains you - especially if you've worked in mainstream comics like Marvel and DC, or if you're just doing your own independent comics - to compartmentalize things and work on multiple things at the same time. And that's a skill that is incredibly handy in Hollywood, because within the first year that you get here, you realize there's a reason why every successful person in Hollywood has like seven or eight projects up in the air at any point.

The political vibe of late-'40s Hollywood through the mid-'50s is something we're seeing a lot of echoes of right now, and in a scary way, where I'm wishing for an Edward R. Murrow to stand up and start somehow calling people on stuff. But as far as the way the industry works, I feel like we're in a place where you see companies slowly moving back to only doing their own stuff.

There's a reason why every successful person in Hollywood has like seven or eight projects up in the air at any point. It's like a 90 percent chance for each project that it'll never happen. Every project has about a 10 percent chance of getting made, unless you're like a Quentin Tarantino or somebody who just gets whatever they want to get done. But those are the rare cases.

With comics, you can only really learn what you're doing wrong or what works best when you see your work published. I've been publishing comics since my 20s, and still, when I flip through any of my new comics, I still only see the things that I wish I'd done better. But that's how you learn, by seeing it.

You can sit and write in your room all you want, but until other people see it, until you see it produced for television or film or something, you're not 100 percent sure if what you wrote is actually going to work.

Charlie had always been a sucker for this part... the first days. The days when you let yourself believe the lies... Not just that there's someone who truly sees you... truly understands you... to your soul... but that you even want them to. That's the sweetest lie, the one you tell yourself.

I guess you only know your home when you come back to it.

It's because of my grandfather that I became a Young Avenger. But it's hard sometimes, to be a black kid carrying a name like "Patriot". I remember talking to Captain America about before he died, and he explained what Patriotism meant to him... It wasn't about blindly supporting your government. It was about knowing what your country could be, what it should be... And trying to lead it there through your example. And holding it accountable when it failed. I remember he said: "There's noting patriotic about corruption or cover-ups... or defending them. But exposing them, well, that takes a hero.

I've never been much for tears, anyway.

Revenge. That's what he had come for... But it didn't really exist, did it? Just empty regret and bitter heartbreak, wandering the streets. The city around him, white and grey and cold, felt suddenly so small. Hyde had been right about family, there was no escaping it... Even when there was no one left to run from.

Sometimes when I'm writing a superhero story I wonder if they really have to punch each other in the face. Is that really going to solve anything? I feel the same way sometimes when I watch episodes of Law & Order. I'm like, "Yeah, right. You found the sex offender and now everything is fine." TV is big on closure, but I think closure is horseshit in real life. I'm still haunted by stuff I did in my teen years when I think about it too much.

The world went insane before I did, I'm just adapting to the new reality.

Wealth wants to be able to do whatever the fuck it wants to... And it's winning the war.

When you're reading a good noir, the shocks and twists have a way of feeling deja vu-like, as if you saw them coming, but hoped the characters would take a left turn... not answer the phone, not sleep with that woman, not sell drugs to those cops... but knew they would. It would have been wrong if they didn't, and the real surprise can be that you care about someone you know is in for hell. You relate to them, even when their hell is so much bigger than your own. But we're all going to die, and we all make mistakes. The best noir stories make you forget plot entirely by giving you characters that feel so well-realised you can't look away as they fall.