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There's a sort of eternal, indefinable 20th century quality to 'BTAS.' We never really pegged the d
There's a sort of eternal, indefinable 20th century quality to 'BTAS.' We never really pegged the d
There's a sort of eternal, indefinable 20th century quality to 'BTAS.' We never really pegged the d
There's a sort of eternal, indefinable 20th century quality to 'BTAS.' We never really pegged the d
There's a sort of eternal, indefinable 20th century quality to 'BTAS.' We never really pegged the d
There's a sort of eternal, indefinable 20th century quality to 'BTAS.' We never really pegged the d
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Paul Dini:
I was writing a script about the Joker menacing a regular person who had strayed into his path, andPaul Dini:
When you do an animated series and add characters who are not from the canon, you really have to wiPaul Dini:
Mickey Mouse did not stay the little squeaky guy in 'Steamboat Willie.' He went on to have many difPaul Dini:
In every story I've written with Batman, there's an element of justice - you never want to have thePaul Dini:
I've always felt in my own small, little way that if I could just write a story where it works outPaul Dini:
When it's only you that you can rely on, you're surprised at the resilience you have.Paul Dini:
If you let tragedies stop you along the way, then you're never going to grow as a person.Paul Dini:
You don't have to limit yourself or feel that you've been limited by an act of cruelty.Paul Dini:
Creativity, for a lot of young people, is a coping mechanism. It's the only place they feel comfortPaul Dini:
In those times when a kid first tries to express themselves creatively, it sets them on a different