And what's God if not a puppeteer...one who makes us dance...one who craves and demands attention?
If you go out in the country, spend a lot of time on decaying farms, and you see a lot of crumbling tobacco farms, and wandering the woods, there's something beneath the surface; there's something older... more sinister.
The great thing about writing 'Deadpool' is that he can demolish expectations and typical comic book conventions with monster truck force. There are few other characters who can transition so easily from one type of story to the next.
I always wanted to tell stories. Well, at least, I always came back to the notion of storytelling when the glitz and glamour of being a special effects designer or a fighter pilot or a DEA agent wore off.
When I was younger, my goal in life was to work in special FX makeup. Liquid latex and fake blood! That was the dream!
Writing 'Deadpool' can be a lot of fun. When I first started working with the character, I wasn't sure I'd like him. I quickly realized, though, that a writer can do pretty much anything with him - comedic stories, serious stories, completely nonsensical stories.
Skipp and Spector's 'Books of the Dead' were huge influences on me as a writer.
I sent in tons of submissions and proposals, and I collected my share of form rejection letters. Eventually, I found myself working at a comic book shop, where I met my future collaborator Brian Hurtt.
