Wein’s first professional comics story was “Eye of the Beholder” in DC’s Teen Titans #18 (Dec. 1968), where with co-writer and fellow future-pro Marv Wolfman he introduced the male character Starfire who was eventually renamed Red Star. Wein later began scripting sporadic issues of such DC superhero titles as Adventure Comics (featuring Supergirl and Zatanna), The Flash, and Superman, while continuing to write anthological mysteries, along with well-received stories for the semi-anthological occult title The Phantom Stranger #14–26 (Aug. 1971 – Sept. 1973).
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Top 10 quotes of Len Wein
“What makes a story is how well it manages to connect with the reader, the visceral effect it has.”
— Len Wein
When I’m my own editor, there’s very little difference between the first draft and the final. I write what feels right to begin with. I rarely make any major changes.
Len Wein
I think jazz and comic books are probably the two uniquely American art forms.
Len Wein
A writer writes. Period. No matter if someone is buying your work or not.
Len Wein
Unfortunately, there are writers whose only concern is how good they could make themselves look on a title.
Len Wein
A true friend is someone who is there for you when he’d rather be anywhere else.
Len Wein
Art is always in the eyes of the beholder. Only posterity has the right to point out our mistakes.
Len Wein
“Unfortunately, there are writers whose only concern is how good they could make themselves look on a title.”
— Len Wein
“I realized the only thing I owed my audience was my own judgment and my own best effort.”
— Len Wein
There is an ancient legend which warns that, should we ever learn our true origin, our universe will instantly be destroyed.
Len Wein
Rare quotes of Len Wein
At the end of the 1970s, following a dispute with Marvel management, Wein returned to DC as a writer and then eventually an editor. He scripted a long run of Batman and collaborated on Green Lantern with artists Dave Gibbons and Mark Farmer. He also dialogued the mini-series Legends over the plots of John Ostrander and the artwork of John Byrne and Karl Kesel. As editor, he worked on the first mini-series Camelot 3000, and such successful series as The New Teen Titans, Batman and the Outsiders, Crisis on Infinite Earths, All-Star Squadron, and Alan Moore and artist Dave Gibbons’s acclaimed and highly influential Watchmen miniseries.
“These days, it seems that if you’re not already in place, you can’t get there from here.”
— Len Wein
“When I got my first glimpse of Hugh Jackman as Wolverine, my breath caught. In that single instant, he was Wolverine.”
— Len Wein
“In these litigious times, if you’re a beginner, it’s becoming harder and harder to get your work to the people who might actually be able to hire you.”
— Len Wein
The villain is always more entertaining because he has fewer limitations. The hero is bound by honor, by justice and by the law, sometimes.
Len Wein
I was a very sickly kid. While I was in the hospital at age 7, my Dad brought me a stack of comic books to keep me occupied. I was hooked.
Len Wein
It all depends on which side of the desk you’re sitting on.
Len Wein
Len Wein Quotes
Wein and artist Bernie Wrightson created the horror character Swamp Thing in The House of Secrets #92 (July 1971). Over the next several decades, Swamp Thing would star in DC series and miniseries — including an initial 1972–76 series begun by Wein and Wrightson, and the mid-1980s Saga of the Swamp Thing, edited by Wein and featuring early work by writer Alan Moore. He wrote a highly well-regarded run of Justice League of America (issues #100–118) with artist Dick Dillin.
The most unrealistic thing I’ve ever read in comics is when some group of characters calls themselves the Brotherhood of Evil or the Masters of Evil. I don’t believe any character believes their goals to be truly evil.
Len Wein
I’ve always been the audience that I wanted to reach, so I write for myself.
Len Wein
I had never really thought of myself as a writer; any writing I had done was just to give myself something to draw.
Len Wein
I was a very sickly kid. While I was in the hospital at age seven, my Dad brought me a stack of comic books to keep me occupied. And I was hooked. When my eighth grade art teacher, Mr. Smedley, told me he thought I had actual art talent, I decided to devote all my efforts in that direction in the hope that I might someday get into the comics biz. I became an art major, took every art class my school had to offer. In college, I majored in Advertising Art and Design.
Len Wein
I think every time you take a female character, a black character, a Hispanic character, a gay character, and make that the point of the character, you are minimalizing the character,
Len Wein
Quote by Len Wein
In the early 1970s, Len began writing regularly for Marvel Comics. Wein’s first superhero work for Marvel was a one-off story in Daredevil #71 (Dec. 1970) co-written with staff writer/editor Roy Thomas. He succeeded Roy Thomas as editor-in-chief of the color-comics line in 1974, staying a little over a year before handing the reins to Wolfman. Remaining at Marvel as a writer, Wein had lengthy runs on Marvel Team-Up, The Amazing Spider-Man, The Incredible Hulk, The Mighty Thor and Fantastic Four, as well as shorter runs on such titles as The Defenders and Brother Voodoo. In 1975, he and artist Dave Cockrum revived the Stan Lee / Jack Kirby mutant-superhero team the X-Men after a half-decade’s hiatus, reformatting the membership. Among the characters the duo created were Nightcrawler, Storm, Colossus, and Thunderbird; Wein had additionally created Wolverine earlier, with artists John Romita Sr. and Herb Trimpe, in The Incredible Hulk. Wein plotted the next two X-Men stories with artist Cockrum. These issues were then scripted by Chris Claremont, who subsequently developed the series into what became, with Spider-Man, one of Marvel’s leading franchises.
When I submitted samples, I had only written stories to give myself something to draw. I was told, “The art is good, but not quite professional yet. But, I like the writing.” I’ve been a writer for almost a half a century. It’s very cool.
Len Wein
I became an art major, took every art class my school had to offer. In college, I majored in Advertising Art and Design.
Len Wein
These days, it seems that if you’re not already in place, you can’t get there from here.
Len Wein
Famous quotes of Len Wein
I always wanted to fire rays out of my fingertips.
Len Wein
Sometimes you’re not even sure which of your stories were failures. There are things I’ve written that I thought were complete catastrophes when I finished with them that have gone on to generate some of my most positive feedback.
Len Wein
Len Wein wrote a Blue Beetle revival, scripted a revamped Wonder Woman over penciller George Perez’s plots, and created the superhero Gunfire with artist Steve Erwin.
Following his second stint at DC and a move to the West Coast, Wein served as editor-in-chief of Disney Comics for three years in the early 1990s. After leaving Disney, Wein began writing and story editing for such animated television series as X-Men, Batman, Spider-Man, Street Fighter, ExoSquad, Phantom 2040, Godzilla, Pocket Dragon Adventures, Reboot and War Planets: Shadow Raiders. In 2001, he and Wolfman wrote the screenplay “Gene Pool” for the production company Helkon, and later adapted it for a one-shot comic book for IDW Publishing. In September 2004, Wein completed a script for a Swamp Thing feature for Silver Pictures at Warner Bros.. In 2005 and 2006, Wein appeared frequently as a panelist on the Los Angeles theatre version of the TV game show What’s My Line, and in 2006, collaborated with writer Kurt Busiek and artist Kelley Jones on the four-issue miniseries Conan: The Book of Thoth for Dark Horse Comics. He has also scripted the comics series The Victorian for Penny-Farthing Press and has written comic-book stories for Bongo Comics’ TV-series tie-ins The Simpsons and Futurama.
Originally posted 2018-06-10 06:55:48.
