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To tell you the truth, I never wanted to become a moviemaker. It was like I was a cinepihile, and I go, like, three or four times per week to the cinema, and I like to watch films.
I never wanted to make a graphic novel. As soon as you become a 'writer,' you have to be intelligent all the time... I like the fact that I have the right once in a while to say silly things.
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I live full-time in the world of omnivores, and I've never wanted to leave. But the Standard American Diet (yes, it's SAD) got to me as it gets to almost everyone in this country.
When I started writing this blog more than years ago, it was in response to traditional media's habit of twisting interviews to fit the headlines they wanted to create.
He [Stuart Immonen] and I have known each other over email for 18, 19 years or something, so to finally work with him is like kissing the girl that you always wanted to kiss.
For years I've wanted to work with this guy, so to actually write at the top of my scripts "Empress, Script by Mark Millar, Art by Stuart Immonen" is an absolute pleasure.
It was the most earnest ambition I ever had....Not that I ever really wanted to be a preacher, but because it never occurred to me that a preacher could be damned. It looked like a safe job.
I loved watching documentaries and had wanted to try making one for years - I'd just put it off as other opportunities arose. But I felt like time was running out for me if I wanted to do it.
It can often happen that motherhood can really stop a lot of women in their tracks and I wanted to try and keep working through that as much as I could.
My childhood definitely revolved around my relationship with my brother. I wanted to be different. I wanted to find my way of being as intriguing and interesting as he was.
They wanted me to play more sports because they were acutely sensitive to their children being one hundred percent American, and they believed that all Americans played sports and loved sports.
Theatre was an art form that I didn't really respect, and because I wanted to shake it up and do different things on stage, I was able to combine all the things I'd learnt through writing on my own.
I always wanted to make a film that had this sort of Chinese-box effect, in which you keep opening it up and opening it up, and finally at the end you're at the beginning.
The only thing I really wanted was the freedom to be able to get what I want on film. I’ve dealt with the MPAA since 1973, so I know how to renegotiate and rework.
I certainly felt the desire to reach as many people as I could; I wanted to make the most of this opportunity, sure. But I wouldn't call it pressure the way we're thinking of it now.
I realized that the people weren't just characters but they were people and they were getting to do something that was so fun and I wanted to be a part of it.
Sometimes I work on film sets. I've done this for 40 years. I always wanted to photograph on the set of an Ingmar Bergman film. Unfortunately, I never had the opportunity.
There are many stories I've wanted to write that I'm simply not able to - sometimes I haven't found the way in yet, and it doesn't matter how hard I try.
I don't write on topics that require a lot of urgency. But in 'Stiff,' I wanted to change people's hearts about organ donation. Whenever I get a chance, I try to talk about that.
I wanted it to be a wonderful combination of being able to dance a little bit, not being especially good, but also playing a character who says the line, "I love to dance".