Brian Michael Bendis
Brian Michael Bendis
Brian Michael Bendis is an American comic book writer and former artist. He has won critical acclaim, including five Eisner Awards for both his creator-owned work and his work on various Marvel Comics books...
NationalityAmerican
ProfessionArtist
Date of Birth18 August 1967
CountryUnited States of America
girl book tanks
I looked at Tank Girl, which is the coolest comic, ever. The movie didn't make the comic book any less cool. The comic is still the comic.
children sick people
I'll never get sick of raising my children, but other people might get sick of them.
book ego stuff
The books are the books, and a lot of the stuff is some version of your id or your ego.
men people listening
I was listening to the inclusiveness of Spider-Man, and why he's so appealing to so many people, but I didn't connect it all at first.
character heart men
I obviously love those characters [Avengers] with my whole heart. I was on a one-man "Luke Cage is cool" campaign for most of the Aughts. When we announced the New Avengers line-up, and Luke Cage and Spider-Woman were there, a lot of fans went, "WHAT?!?!?! Bulls - t!" And I had to prove myself. They were right: I can't just announce they're cool. What's less cool than that? I have to show that they're cool! But this is way farther than I ever thought it would go.
nice cutting men
I was there when Sam Raimi showed Stan Lee the first cut of the first Spider-Man movie. I was on a couch next to Stan, watching how special effects had finally caught up to his imagination. It was insane. And I'm thinking, "He had to wait until he was 80 years old for that to happen." When they announced Powers and Jessica Jones, I thought, "Oh, that's nice!"
beautiful believe eye
I couldn't take my eyes off of Stan [Lee]! As good as the movie is, all I could think about is, "What's he thinking?" So the movie ended, and then he, very whimsically, expressed all of his feelings about how long he waited, and how the TV shows in the '70s were all, "If only they could do this," and now they could. And he didn't get choked up and blubbery, but he was moved. Like, "Ohmigod, it happened while I was alive." And I can't believe I got to see that. He was very raw. It was quite beautiful.
unique voice drawing
From my personal taste, it needed more of a visual style. It's so hard when you're adapting something that's so visually scrumptious like Mike Oeming's drawings. They're so unique to comics, but they're a voice.
long television paper
This is something I learned when I was working at a newspaper: when you put something on paper, whether it's words or pictures, and it's staring back at the reader, they are now alone in the room with them for as long as it takes them to turn the page. Whereas on television, the images fly by.
war men america
When it was announced that Spider-Man was going to be in Captain America: Civil War, "Miles Morales" was trending on Twitter for like a week. More people than I ever thought had heard of it. Listen, people go to Build-a-Bear and make your Miles Morales Build-a-Bears and tell everybody that's what we want!
chance movies-and-music
In the history of comics and movies and music too, it's always when things are at their bottomed-out, either creatively or financially, there's more chance-taking going on.
book character emotional
I see this with experienced writers, too: They worry so much about the plot that they lose sight of the characters. They lose sight of why they are telling the story. They don't let the characters actually speak. Characters will start to dictate the story in sometimes surprising, emotional, and funny ways. If the writers are not open to those surprises, they're going to strangle the life, spark, or spirit out of their work.
book people peers
One similarity I see between peers and some of the people who read my books is that comics were definitely an outlet for us.
jobs cutting men
I didn't know why I was coming to this room. Someone just told me to go to Sam Raimi's office. I knew that I uniquely had the comics version of his job, which was to take Spider-Man and put him into the modern day. But I thought, "Maybe he wants to tell me to cut it out." So I come in, it's in his office, and then Stan Lee comes in, and I'd only ever met Stan as a fan, not as a professional. And then they sit us down on a couch, and roll in an AV cart with a TV on it and go, "We're going to show you the first cut of Spider-Man."