We think we've got great stories and characters that will lend themselves to great standalone experiences, and that's the way we're focusing on it.
Diane Nelson
The DC Universe animated made-for-videos are a great, specific opportunity to offer fans something that they might not have gotten otherwise; it's also proven to be a great business for Warner Video and Warner Premiere.
Motion comics take the underlying physical book material and enhance or modify it slightly enough to make it unique and, we think, best-suited for a digital environment.
We have to be really sensitive to making sure were not creating any stories that don't feel like they're ready to be told... We have to make sure we're getting the right story and the right content from the talent we work with.
I will say that Vertigo is an area of great interest to me. It is even less well tapped than other parts of DC, and could potentially offer amazing stories for our future television video game, digital and consumer products businesses.
The driving factor for me is having DC as one company together ourselves. Our ability to work more collaboratively with the whole studio is certainly a benefit.
While it would be as wrong of me to attribute these traits to women at the exclusion of men as it would be for a man to do the reverse, I think women can often be very strong team players and good communicators and collaborators.
I certainly am the first to acknowledge where I don't have strengths, but I think I'm pretty good at acknowledging where I do.
I'm here to help make sure that the people who do things well at DC are set up to do them as well, and even better, in the future.
When you have a creative business and ideas generated from people working together, I think you can work happier together.
We're going to help DC feel like more of an important priority in Warner Bros.
I prefer to be known as an executive rather than a girl.
Unlike Marvel, we are not setting up redundant organizations for expertise that exists. We will track all DC properties to measure financial success.
Our goals were and are to be sure that we set up DC Entertainment to be more integrated and more cooperative within DC as well as in Warner Bros.
We wanted to protect the legacy of DC Comics here in New York, and there are many things that make sense to protect and maintain while setting up parts of the organization in Los Angeles to grow.
There is a healthy competition as there would be in any business. But we do not spend our days thinking about what Marvel is doing.
I've had the luxury of working on a lot of our great brands here at Warner Brothers, including a lot of the DC ones. I've also worked on a lot of great brands that were not DC.
I don't presume to describe myself as a creator anymore, but I certainly love the process, and I hope I can do a lot of great things for the talent who are in and around DC.
I'm not looking to stick my nose into an area where I'm not needed.
Cross platform, we have opportunity across all our businesses to not only take the most well-known and high-profile brands and bring them to life with the guidance of people who know them well, but to incubate new ones.
There are no easy answers for the balance of how you protect the core business of the books with what the digital future will look like, but that would be our job with DC Comics, to figure that out and experiment and take some risks while always protecting the core business.
I always joke that they're all like my children, so I love them all, but I would be lying if I didn't admit that 'Wonder Woman' has an affinity for me.
The DC Universe Animated made for videos, which we do in cooperation with Warner Animation, are very intentionally scheduled at 3-4 a year, depending on whether or not there's a theatrical tent pole release in a given year, in which case we may choose to do four of them a year.
