A biography for Jeff Lemirehasn’t been written yet.
“I've been reading comics since I was four. I used to get them when I would go grocery shopping with my mom. I remember getting the digest versions of old DC comics. The one that I remember reading first was Paul Levitz' 'Justice Society of America' stuff that he was doing in the '70s.”
“I enjoyed my time at DC. Dan Didio, Geoff Johns and Jim Lee were great to me, and I'm very grateful for the opportunities they gave me. Having said that, I think it's important to try new things and work with new people to keep myself fresh.”
“When I do 'Sweet Tooth,' really, whatever I want to do with the characters kind of goes. I'm sort of in charge.”
“I tend to write my beginnings and endings first - as a cartoonist and storyteller, I couldn't sit down every day if I didn't know where the story was headed.”
“When you're a kid, you're not as corrupted by the world at large. You're not corrupted by prejudices. You're much more open-minded. Much more interested in the world around you. 'Sweet Tooth' is about the world returning to that kind of place.”
“The Green Arrow stuff that I've responded to from the past is the Mike Grell stuff. I've liked a lot of other stuff, but I think for me, the direction and the mood and the tone that I really want is something much darker and more aggressive and really fast-paced action.”
“I grew up reading a lot of superhero comics, so it's really fun to take a shot at one myself and see what happens.”
“Art should walk a tightrope. That's what art should be. Art should be dangerous. You can't be scared to say something with it. People love to talk about how comics are real art and real literature, so why not use these characters to talk about real things, even if it is dangerous?”
“There's something so arrogant about us creating robots that are more and more human-looking or acting. It's like we're playing God. Let's create something that's a reflection of us, but it's inferior.”
“I started off doing indie comics that I wrote and drew myself. I was doing those for ten years before I started to work for DC. The first book that I wrote for DC was for another artist. I did some backups in 'Adventure Comics' years ago starring The Atom. That's the first time that I ever wrote for another artist.”
“The cool thing about 'Sweet Tooth' is that you can bring influences from the underground and alternative people that I read and also bring in some genre influences, too, from movies and comics. And kind of mash it all up. It's a fun project.”
“I look at my son and his relationship to technology, and I think back to when I was six and how wildly different the world is in that regard. I see him using an iPhone and all this stuff, and then I think back to when I was six. We didn't even have computers in our houses at all yet. This is a huge gap between our experiences as children.”
“If I'm not invested emotionally, the artwork doesn't feel emotional.”
“I have always been drawn to young characters and seeing big tapestries through the eyes of a child. It probably comes from being a father myself and having a young son and seeing the world through his eyes. I write stories that are sort of the exaggerated version of that.”
“Letting a project sit and coming back to it is just as important as working on it all the time. You need to come back to it with fresh eyes.”
“I never - when I go into a project, I don't think too much about if there's a lot of other sci-fi books out there or horror books or whatever. I just tell the stories I want to tell, and I think that is evident on the page.”
“When I approached 'Animal Man,' I approached it as if it wasn't a reboot, as if the Grant Morrison and Jamie Delano stuff happened. I mean, as much as I could make it all make sense, it still all happened.”
“For some reason, I have always had a really good ability to write children in a way that's realistic but not annoying. The key to that is underwriting them: peel back the dialogue and keep it simple.”
“Oliver Queen/Green Arrow is a character whose core is about legacy and responsibility. And that all comes from his father and the responsibilities of living up to his legacy.”
“When I write Superboy and other DC characters, it's about boiling them down to core concepts.”