“…[Bob Kane] had an idea for a character called "Batman", and he'd like me to see the drawings. I went over to Kane's, and he had drawn a character who looked very much like Superman with kind of … reddish tights, I believe, with boots … no gloves, no gauntlets … with a small domino mask, swinging on a rope. He had two stiff wings that were sticking out, looking like bat wings. And under it was a big sign … BATMAN.”

—  Bill Finger

[Jim Steranko, The Steranko History of Comics, Supergraphics, Reading, Pa., 1970, ISBN 0-517-50188-0, p.44]

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American comic strip and comic book writer 1914–1974

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“He was a terrific writer and was the most responsible for the success and development of Batman. He really was the background for Batman; Bob Kane had ideas while Bill sort of organized them.”

Bill Finger (1914–1974) American comic strip and comic book writer

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“Robin was an outgrowth of a conversation I had with Bob. As I said, Batman was a combination of Fairbanks and Sherlock Holmes. Holmes had his Watson. The thing that bothered me was that Batman didn't have anyone to talk to, and it got a little tiresome always having him thinking. I found that as I went along Batman needed a Watson to talk to. That's how Robin came to be. Bob called me over and said he was going to put a boy in the strip to identify with Batman. I thought it was a great idea”

Bill Finger (1914–1974) American comic strip and comic book writer

[Jim Steranko, The Steranko History of Comics, Supergraphics, Reading, Pa., 1970, ISBN 0-517-50188-0, p.44]
Variant: Robin was an outgrowth of a conversation I had with Bob. As I said, Batman was a combination of Fairbanks and Sherlock Holmes. Holmes had his Watson. The thing that bothered me was that Batman didn't have anyone to talk to, and it got a little tiresome always having him thinking. I found that as I went along Batman needed a Watson to talk to. That's how Robin came to be. Bob called me over and said he was going to put a boy in the strip to identify with Batman. I thought it was a great idea

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“I suppose he had the good luck to be executed, no? I had an hour's chat with him in Buenos Aires. He struck me as a kind of play actor, no? Living up to a certain role. I mean, being a professional Andalusian… But in the case of Lorca, it was very strange because I lived in Andalusia and the Andalusians aren't a bit like that. His were stage Andalusians. Maybe he thought that in Buenos Aires he had to live up to that character, but in Andalusia, people are not like that. In fact, if you are in Andalusia, if you are talking to a man of letters and you speak to him about bullfights, he'll say, 'Oh well, that sort of this pleases people, I suppose, but really the torero works in no danger whatsoever. Because they are bored by these things, because every writer is bored by the local color in his own country. Well, when I met Lorca, he was being a professional Andalusian… Besides, Lorca wanted to astonish us. He said to me that he was very troubled about a very important figure in the contemporary world. A character in whom he could see all the tragedy of American life. And then he went on in this way until I asked him who was this character and it turned out this character was Mickey Mouse. I suppose he was trying to be clever. And I thought, 'That's the kind of thing you say when you are very, very young and you want to astonish somebody.' But after all, he was a grown man, he had no need, he could have talked in a different way. But when he started in about Mickey Mouse being a symbol of America, there was a friend of mine there and he looked at me and I looked at him and we both walked away because we were too old for that kind of game, no? Even at that time.”

Jorge Luis Borges (1899–1986) Argentine short-story writer, essayist, poet and translator, and a key figure in Spanish language literature

Richard Burgin, Conversation with Jorge Luis Borges, pages 92-93.
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