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“Twenty-two pages is not a lot of space. Believe me. Having written a bazillion comics, I still find myself more often than nine pages into a script and realizing to my horror that I'm only about a quarter of the way through the story I wanted to tell, and the next thing you know, I'm making fresh coffee and tearing up the floorboards to rewrite.”

“When I am writing I don't set a certain number of pages. I do know that the further into a script I get the faster it goes. As soon as you start making decisions you start cutting off all of the other possibilities of things that could happen. So with every decision that you make you are removing a whole bunch of other possibilities of where that story can go or what that character can do. So when I get maybe 2/3's of the way through I can see very clearly where it is going to go.”

“As an actor, you very rarely have the experience of picking up a script and getting a few pages into it and realizing that what you're holding in your hands is not just a role on a TV show, but it's one of those special parts that comes along, once or twice in a career. If you're lucky, you get an opportunity to do something really memorable and to be part of one of those rare shows that passes into that special category.”

“Yeah I was aware of the book, but hadn't read it. So as soon as I'd finished the script, I got a copy of the book and read that. My wife had read it and she loves it, so that was a good sounding board. I like her writing style, she's such a page-turner. I enjoyed The Constant Princess as well. I think she's great. The books are very popular with women and I can see why.”

“For those of us at Marvel Television, it always begins with the story. It's all about the script. It's making sure it's there, on the page. So, we needed to go to a group of individuals who have not only created some of the most memorable animated characters, like Ben 10 and Generator Rex, but also had done two seasons of our very successful Marvel's Ultimate Spider-Man series, and that's the Man of Action guys. But, it wasn't just that.”

“When I'm writing, it's about the page. It's not about the movie. It's not about cinema. It's about the literature of me putting my pen to paper and writing a good page and making it work completely as a document unto itself. That's my first artistic contribution. If I do my job right, by the end of the script, I should be having the thought, 'You know, if I were to just publish this now and not make it . . . I'm done.”

“I used to pile on the detail, which was probably a way of hedging my bets while I was working out my own way of doing things. I've cut it back over the years, but some of the descriptions can still be still pretty dense. So the answer is somewhere between fairly detailed and maybe too detailed. Fortunately, people are seeing the final pages and not my raw script.”

“Theratre is not like like in film and TV, where you have to stop and go back and keep redoing the same three pages for two hours. You get to go through the whole 80 pages of the script, which is incredible. You get to keep acting on the feelings you had just moments before. You don't have to psych yourself up for the scene. You can just go off what you were already feeling.”

“I really like the "two is better than three" line. People ask me is this drama or comedy? I just think the more colors you have to a film the better. The more genres, the more people will like it. I like relating to the whole general speaking public. The script itself is 99 pages but the novel it is based on is 600. I had to leave a lot of stuff out of the script. I had a limitation of what I could present on the big screen.”

“You know, my problem with most screenwriting is it is a blueprint. It's like they're afraid to write the damn thing. And I'm a writer. That's what I do. I want it to be written. I want it to work on the page first and foremost. So when I'm writing the script, I'm not thinking about the viewer watching the movie. I'm thinking about the reader reading the script.”