Best 122 quotes of Brian K. Vaughan on MyQuotes

A comic script is basically a love letter from you to your artist.

After 9/11, I knew I wanted to write about power and identity and the way Americans on all sides of the political spectrum often mythologize our leaders, which are themes that the superhero genre has always handled really well.

After ten years of toiling away in Hollywood, I realized that there's no better place for new ideas than comics.

All writing is the same: It's just making up lies until it starts to sound like the truth. That's what I do.

As you get older you start to see these events and leaders, and movements of the pendulum swinging back.

Because it's in and about New York City, I knew 'Ex Machina' was going to have to continually mix the mundane and the fantastic.

Brubaker and Phillipss books have always been about eight years ahead of their time.

Comics are essentially films with fewer frames per second.

Doesn't matter if it's personal or professional, a good partnership takes work.

Each collected edition of Paper Girls that we put out will largely be set in an entirely different era.

Every issue, the characters and I duke it out. They usually win.

Fans of my books have just been supremely nice.

Fantasy/science-fiction stories have been around almost as long as each genre, but every hybrid now lives in the shadow of 'Star Wars.'

For a lot of arcane shipping reasons, new comics, even digital ones, have a long history of only being released on Wednesdays.

Gert: Wake me when the fight scene's over. Kitty Pryde: Oy, tell me about it. Hey, I'm Kitty. You the token pacifist of your group? Gert: Not exactly. Pacifists are like vegans, I'm more of a vegetarian. I enjoy fish and occasional maulings.

Happy endings are bullshit. There are only happy pauses.

How is it possible that our parents lied to us?" "Lets see: Santa, the Tooth Fairy,the Easter bunny,um, God. You're the prettiest kid in school. This wont hurt a bit. Your face will freeze like that..." "Everythings going to be alright.

I am a big theater fan. It's mostly just being pretentious, I think, and trying to look smart.

I don't start a story until I know where it's going to end.

If a good editor will let me tell my story with the right artist, I'm happy.

I, for example, am a pompous asshole, but my comics are genius!

I genuinely am sort of an emotionally stunted man-child, so if I just write to the top of my intelligence, it sounds like a teenager. I like being around teenagers. It's good for drama; they feel everything much more intensely than adults do, their lives are much more interesting than ours. They're mutants. They have these weird bodies that are rebelling against them and changing every day. Teenagers always equal good drama.

I grew up in the suburbs of Cleveland in 1988 and there was just one year where suddenly all of the delivery kids that used to be boys were suddenly girls. It happened at our church too. Altar boys were suddenly altar girls. There was just this sense that all these young women knew there were openings here to be the first of their kind.

I grew up with a sister I was very close with and a mom who was a powerful influence on my life. I was always close with women.

I have no imagination; I just steal from life and change the color. Then it's a comic book.

I just want to take a realistic look now, now that we have enough distance.

I know I'm a grumpy old man, but I'm always more delighted by readers talking about the actual comics than people talking about how eager they are to have their favorite comics be "elevated" into another medium. Adaptations are great, but for me, comics have always been the destination, not a stepping-stone to get somewhere else.

I love that the book [Paper Girls ] gets to kind of evolve and change in each era. Our third storyline is our best so far.

I mean, do you know what you get when you call a suicide hotline in New York city? A busy signal. Literally.

Immigration confuses and terrifies me, so why not try to write a comic and make some sense of it?

I'm not afraid of the world. I'm afraid of a world without you.

I'm really happiest living life 22 pages at a time and putting things in little boxes on pages.

I'm the one who started spreading that particular factoid, about Bendis, Azz and me all being bald Brian's from Cleveland, just to get my name mentioned in the same sentence as two much-better writers, and it's worked like a goddamn charm. Next up, I'm going to grow a big, disgusting beard, just so people will start talking about Alan Moore and me in the same breath.

In film, you have the luxury of accomplishing what you need in 24 frames every second. Comics, you only have five or six panels a page to do that.

I realized that for fantasy and science fiction, especially from my youth, white was the default. Luke Skywalker was in the lead, or even if you were a hobbit, you're going to be white. That was an extremely old-fashioned, obviously really narrow-minded way to look at things.

I remember seeing Stand by Me, when I was around 12, and just feeling like, "This is so refreshing to see kids swear and smoke cigarettes like my friends." It just felt much more real than the Sesame Street version of childhood that I'd been spoon-fed.

I sort of jumped out of movies and into the lifeboat of comics. I loved it right away. It was the opposite of film school. Whatever was in my imagination could end up in the finished product. There were just no limitations.

I start with something that makes me angry or confused, and then I write about it. It's a form of self-help.

I think a lot of creators are attracted to those toys they got to play with when they were young, and everyone wants to write a Superman story or a Batman story or a Spider-Man story. I don't know, if it's been successful for me, it should be successful for anyone. "Hit the ground with your feet running" is the secret of breaking new characters when it seems like no one else is having any luck.

I think some people are just very passionate that things remain the way they were when they were kids.

I think there is a possible future where maybe we do just take a hard turn away from the Internet and we do start valuing our privacy again.

It's just people who grew up in that time are suddenly old enough to be creators themselves, but I think they have a little perspective. I'm 40 now, and I have children of my own. Before I forget my own childhood completely, I want to take some time to take a look at the '80s and think back.

It's TV shows like 'Buffy' and 'Angel' that usually have an incredible cliffhanger every commercial break that amaze me.

It was interesting looking back at the '80s and trying to find newspaper headlines from the time - the cliché of history repeating itself.

I've always thought of fantasy as a genre of best-case scenarios, and horror as a genre of worst-case scenarios.

I've been fortunate enough to travel to comic conventions in Portugal, France, Canada, and it's an honor to get to meet people from all over the world.

I've never gotten anything but support and thanks from people for having diverse books.

I've never had any interest in retelling stories from my youth.

I've written about teenage heroes before, on Marvel's Runaways, and I remember at the time when I pitched it, it was a team that had more female members than males. Even that caused of much discussion about, "Will there be a market for this, and should there at least be equal number of male and females?

I write the book for one person — for Fiona [Staples, the artist]. I spend a lot of time just thinking how she'll react to things and manipulating her into drawing perverse, horrific things. It's a really weird job but I enjoy it.