It's funny, you know: my mother-in-law, who doesn't have an ounce of nerd in her, is just so excited by the fact that I write 'Batman' because she'll see an article about me in the 'Washington Post' or 'The Wall Street Journal' or something. And that means so much to me.
The idea of doing a buffer, sexier Riddler - I like that. I think he's a reflection of Batman, and I think of him like a scary, evil Batman. Like Bruce Wayne without a conscience.
I have my dream job. If I was seven years old and you asked me what I'd want to be 30 years from now, I'd say exactly who I am. So, 'rare' and 'lucky' are the exact right words. It took a lot of hard work, and I took a weird route to get here, but man, am I grateful for it.
You throw sadness, you throw depression, you throw horror at Batman, he's like, 'Yeah, yawn, I've done that.' You throw happiness at him? That's something that riles him; that's something that he's not used to.
If you actually read the 'New Gods' tetralogy, this epic without an ending, it's like dipping your head into madness. You feel a little bit like the Joker for a little while. And I mean that in the best way possible.
All stories are just stories of a character changing.
I served my country; I did that. I was in the C.I.A., and I served in Iraq and Afghanistan, and I love this country with every part of my body, and I was willing to risk my body and my family for it. But I wake up in a country I don't understand anymore.
My scripts, they're pretty serious. I basically just describe stuff. I don't put too many notes and letters to the editors. But when I wrote 'KGBLT,' in parentheses I wrote, 'Well this is the best thing I've ever written. It will all be downhill from here. I'm so sorry for the rest of my career.'
Batman's not mine. He doesn't necessarily belong to me. As a character, he belongs first to the audience and second to the hundreds of writers who have been writing him in comics for 75 years.
If you're a writer, you're constantly doubting yourself.