Creating and producing creative work, to me, those are all happy accidents.

The way you challenge Superman is by having things happen very, very quickly in different places and then asking, 'Who does he save first? What powers must he use to save each person or stop each disaster?' That's one of the ways you make him interesting beyond the thematic and moral issues that make Superman.

Al Plastino helped redefine Superman in the 1950s. His work on 'Superman's Girlfriend,' 'Lois Lane,' 'Adventure Comics' and pretty much any title in the Superman family will be fondly remembered for years to come. He will be missed.

Wonder Woman is a lot of fun to draw.

Jerry Robinson illustrated some of the defining images of pop culture's greatest icons. As an artist myself, it's impossible not to feel humbled by his body of work. Everyone who loves comics owes Jerry a debt of gratitude for the rich legacy that he leaves behind.

I don't buy comics anymore, for the most part. I eat my lunch off of them.

'The Authority,' by Warren Ellis and Bryan Hitch, really pioneered the widescreen, action-packed style of storytelling.

As lifelong fans of comic books, Dan Didio and myself, we definitely have our own takes on what make for successful comics and the kind of comics that we want to publish.

'The Dark Knight,' 'The Rocketeer' and definitely the first 'Superman' movie by Richard Donner are the best. I tend to be softer in my judgment about what's a bad movie - I don't think anyone intends to make a bad movie, and sometimes it just doesn't click for some reason.

I love the fact that I get something new to do almost every day and have new challenges.

In the '50s, a lot of stories were built around radiation and the proliferation of new technology. In the '70s, there were a lot of stories that dealt with the Vietnam War. So comic books have always been a reflection of the times we live in.

I try to do a lot of asymmetrical, triangular compositions - I find those work really well for comic book covers in that portrait mode, and I don't always see that in other artists.

Most video games, you build up toward the big, bad boss. And it's just a bigger, more powerful version of what you've been fighting all along in the game.

I rarely draw myself, in general, and if I do, I tend to do little cute manga-esque, almost bite-sized drawings of myself.

Whether it be in comics, games or film, you can trace the art direction and influences back to some earlier, real-life historic period or artistic movement.

From 'The Sandman' and 'Black Orchid' to 'Whatever Happened to the Caped Crusader?,' Neil Gaiman has provided some of the most memorable stories of the comic book industry.

I certainly wouldn't buy a DVD series of a hit show and start at Season 7. I would want to go back and start from the beginning.

As an artist, as I design and lay out a page, the less-important things, things I want you to spend less time looking at, I draw them very small, maybe even silhouette them. The more-important pivotal scenes, I draw them larger, maybe even a double-page spread.

The great thing about having digital comics is that it is like having a comic-book shop on your digital device. It has turned comics from a destination buy to an impulse buy.

I played a little bit of 'City of Heroes' - they have a really great character generation system. I was pretty impressed with that. I played 'World of Warcraft' with my kids. That's a lot of fun.

There's an obvious marketing component to doing something digitally where you're reaching out to new readers that you can't do in the existing print marketplace, or that it's difficult to do in the existing print marketplace.

Wonder Woman isn't even American; she's an Amazon princess.

I've been trying to make this argument that digital comics and print comics are both art, but there are subtle differences.

One of the strengths of the DC Universe has been the strength of the rogues' gallery. Often times they're as famous - if not more infamous - than our heroes.

I think when you're knee-deep in coming up with editorial plans, the desire to sit down and pencil something is pretty strong.

I have to say, self-servingly, I downloaded my own comics. I downloaded 'Batman: Hush.'

When I was a kid, I never felt that what I was drawing really represented me; it was just something I enjoyed.

People who liked the 'Arkham Asylum' video game can Google comics to download.

One of the most difficult things for any artist to do is create a world that looks both completely alien yet real and possible.

I think the very simplest way to show Superman's power is to have him punch someone that's powerful.

Prior to 'Action' and 'Justice League 1,' there was no label 'superhero' for a superpowered being. It's really the emergence of Superman and the Justice League that gets the public comfortable with the idea of people amongst us who have extraordinary power and that they've agreed to be our champions.

The video game market is huge, and the ability to tell stories, and tell different kinds of stories in the gaming space is quickly evolving and changing for the better.

Part of running DC Comics is that it's much larger than Image Comics is, or was. There's a challenge to being one of the industry leaders in that everything you do is scrutinized and watched.

At DC Comics, it has been a top priority that DC forges a meaningful, forward-looking digital strategy.

People ask me, 'What happened in your life that might have pushed you as an artist to get to where you are today?' I always felt a little on the outside. And as such, you're always observing things. So, I'd be kind of re-creating these things in my mind, and I think drawing it was a way to deal with that.

When a character has as wide an audience and as rich a history as Batman, it's truly exciting to see him introduced into an all-new storytelling medium. BATMAN LIVE will bring a completely new experience to fans of the character - it's great to be able to give them something they haven't seen before.

From an artist's point of view, I always want to work with the writers I admire.

Superheroes are modern mythological characters, so you're going to make them look impossible. Even my Krypto The Superdog is the idealisation of the canine form.

A-list stars go to Comic-Con to woo the nerd demographic.

Many in the creative professions were nerds in their pasts because they spent so long reading comics and using their imaginations when they were growing up.

I don't think you can be a comic book fan and not hate change.

When you try to do something bigger and more grandiose, a lot of times it's more apt to fall apart. It's a lot easier to lay down a bunch of singles than it is to get a home run.

If you look at the great superheroes in any universe, you will always find that they have the very best super villains opposing them. It's because they are foils; they are people that the heroes play off of.

I don't think you can measure your love or your passion for whatever you're working on.

I want all my stuff to be converted into digital format so I can have my reference library to carry with me wherever I go.

I paint in acrylic and sometimes in oil. Sometimes I'll paint my kids. And I'll occasionally do some photography.

I think sometimes with new characters, you can kind of hit a creative valley, and it's important to recognize when you're in that valley so you can get back out and get back to that peak.

More often than not, the fans really gravitate towards who's on the cover as opposed to how it's drawn or how it's composed, and so, a lot of the time, what an artist likes will be very different from what a fan likes.

Superman tends to stand very upright, and he's very symmetrical, and those are actually the most difficult poses for me to draw.

The first time I drew a Superman story was 'For Tomorrow' with Brian Azzarello in 2004. It didn't really hit me how important it was until I drew a scene early-on in the book that featured Superman crossing paths with a giant, intergalactic space armada.