Ellis at Comic Con in 2010
|Born||(1968-02-16) 16 February 1968
I think the New Aesthetic is a series of observations. I think most of the trouble people have had with it comes from a misunderstanding of it as a movement.
Learning to write comics is, in fact, so bloody difficult because it’s such a weird form that it does actually make you a bit more adaptable for other forms.
I can be collaborative, for instance, in situations where I go and study the artist’s work before I start writing. Then I can at least try to write towards their style.
I think one of the bigger lessons the Internet has taught us is that ‘niche’ or ‘subculture’ are a lot bigger than anyone ever thought.
For me, the Internet’s like music. I don’t like working without it. I will tune it out for hours at a time, as I get lost in the work, but I’d know if it wasn’t there. If that makes sense.
I try to read a Kindle Single a week, but I’m getting bad at that. I usually have a few books on the go.
On the evidence I have on hand at home, social media isn’t killing our children. It isn’t killing families, either, because the constant long bloody phone calls that parents complained to their teenagers about in decades past are gone.
I try not to get involved in the business of prediction. It’s a quick way to look like an idiot.
If you write any kind of fiction about America, you immediately have to start doing some research about guns, so in some ways, ‘Gun Machine’ is just the culmination of 20 years of reading about guns.
You’re miserable, edgy and tired. You’re in the perfect mood for journalism.
If you believe that your thoughts originate inside your brain, do you also believe that television shows are made inside your television set?
The lesson of ‘CSI’ is: No matter what horrible things happen, nice policemen will turn up and fix everything and return it to the status quo.
If it’s accessible by hundreds of millions of people, then it’s as mainstream as it gets.
The things I have sold to film, I’ve sold because I was happy to rent out the right to adapt those works. Some things, I haven’t sold to film, because I was less interested in having no control over the adaptation.
I’d like to recover some of the strangeness and wonder of consideration of the future.
When I’m working in finite serials, I always think in terms of the entire book rather than the individual episode because, by far, the vaster sector of the project’s lifespan will be in complete book form rather than the singles.
I was originally going to train as a journalist, passing a series of exams that winnowed ten thousand applicants down to one hundred places on a National Union of Journalists course.
It’s always difficult with the superhero stuff because you’re working with characters who have been written by 100 to 200 people over the past 20 years, at least, so they never sound the same or act the same. The best approach is to try to draw the best fitting line through all of the interpretations.
I live on my phone: I have a bunch of news and informational apps on there.
I’ve always moved between media. Some ideas just work better in some media than others.
Here’s the thing about Apple technology: once you own a piece, you want to use it.
In general, I don’t like L.A. all that much, but it has wonderful parts.
Comics is still my first love. But I always did other kinds of writing, too, so I think of myself as a writer first.