Words matter. These are the best Brian Azzarello Quotes, and they’re great for sharing with your friends.
Noir deals with the disenfranchised: people who can’t catch a break under normal circumstances. In noir books, you root for these people, but you know they are going to fail. That’s what makes them so compellingly human. I can relate to that kind of stuff.
Denny O’Neil did some great things with Joker – I thought Greg Rucka used him really well in ‘Gotham Central.’
These are the kinds of stories I’m really interested in telling: bad stories about bad people, I’m comfortable with.
From a storytelling perspective, perfection is death.
Wonder Woman is not horrible. Her villains should be.
I’m interested in damaged people because we’ve all been roughed up in one way or another.
When I write, I’m talking to myself constantly to make sure that it sounds OK; it has kind of a nice rhythm and a nice jump to it.
Good people struggle against what’s imperfect about them. The people that we call ‘bad’ people embrace that kind of stuff, embrace the darker side.
To ground a character in reality, you have to use shades of gray.
I think a lot of superheroes seem to have the same value system; they just have a different costume. They’re all doing exactly the same thing.
Nobody’s angry all the time, unless you’re a psycho.
Everybody’s got a father. Even if he’s not the nicest guy in the world.
I think portraying the Joker’s point of view would do a disservice to that character. As soon as you get inside his head he would lose so much power.
Everybody’s got scars. It’s not so unique.
I have a reputation for writing all kinds of hard-core, violent things.
I really like language – and slang in particular, and just the shorthand we use when we communicate with people.
I’m always interested in using comics in different ways.
‘100 Bullets’ is a novel on its own. ‘Brother Lono,’ other than the main character, has nothing to do with ‘100 Bullets.’
What’s the trick to writing a good bad guy? Well, for me, it’s always been the idea that you pit yourself against authority, you know? I think that’s what it takes – and then you can write villainous characters.
Characters work really well when they’re reflective of the times that they’re operating in.
When something is well-crafted, you know it, and the enjoyment comes from experiencing it.
Characters with questionable morals are sexy.
My mother would make a good Wonder Woman.
One of the problems in modern comics is that they keep referencing themselves endlessly.
DC characters are from a different era than Marvel characters.
I’m kind of a graphic novel ambassador.
I think, personally, it’s our flaws that define us to us – or maybe it’s just me.
Painted talking heads is just boring.
The metro section of the newspaper every day is full of stuff I can use. It’s the greatest inspiration for me because it’s full of endings. That’s where the ends of stories show up.
I have never met a feminist who didn’t have a father.
I think the Joker resonates with people as much as Batman does.
It is our mistakes that make us interesting, right?
I’m happy with the way ‘100 Bullets’ ends terribly.
We finished ‘Spaceman,’ and before we were even done with that, we had already been talking about what we were going to do next.
Superman is pretty much the way he was – you know – what he’s always been. A lot of the Marvel characters are products of their time. I think Batman, as a character, has been able to adapt; he’s pretty malleable.
Man, I think mistakes – that’s what makes us distinct human beings. Those imperfections.
When I was writing about Gotham in ‘Broken City,’ I was writing about Chicago. I just substituted the names.
Writing ‘The Spirit’ is really fun.
This thing is such a ripple, the way lives are affected by gentrification. On one hand, yes, you’re cleaning up this area, you’re making it more livable for people. But you’re not saying anything about the people that live there.
‘100 Bullets’ is such a post-modern noir; there are certain rules you gotta follow.
