Comics are so full of amazing work. And I can't look at a drawing of a woman without thinking of, for instance, Wallace Wood and his amazing way of capturing beauty.
I grew up on the crime stuff. Spillane, Chandler, Jim Thompson, and noir movies like Fuller, Orson Welles, Fritz Lang. When I first showed up in New York to write comics back in the late 1970s, I came with a bunch of crime stories but everybody just wanted men in tights.
I thought Daredevil was kind of cool because he couldn't do anything. I mean, he's blind. It wasn't that he could fly. His major power was an impediment. So I was intrigued. When I took over he was kind of like Spider-Man-lite, but I was able to project a lot of my Catholic imagery onto it. And I'd always wanted to do a crime comic.
I'm a comic book artist. So I think to myself, what do I like to draw? I like to draw hot chicks, fast cars and cool guys in trench coats. So that's what I write about.
I'm a spoilt brat. I thought I was just going to walk in and make movies. But I'd been my own boss for so long that all of a sudden to be facing a roomful of people who were niggling over every little scene... I just thought I'd go back and draw my comics and have a happy life.
It was said Daredevil grew up in Hell's Kitchen, an amazing name for a neighbourhood. But that opened a Pandora's box of all the crime stuff I wanted to do. I borrowed liberally from Will Eisner's 'The Spirit' and turned 'Daredevil' into a crime comic.
The noir hero is a knight in blood caked armor. He's dirty and he does his best to deny the fact that he's a hero the whole time.
What's happened with computer technology is perfectly timed for someone with my set of skills. I tell stories with pictures. What I love about CGI is that if I can think it, it can be put on the screen.
When you think of what Americans accomplished, building these amazing cities and all the good it's done in the world, it's kind of disheartening to hear so much hatred of America, not just from abroad, but internally.