Superman represents an instinctive problem that we are all born and grown up with, that we can fly ─ after all, we can fly now; we couldn't before ─ and that we can carry on all kinds of scientific investigations, that we can stop crime, which Superman does, and that we can have a good influence on the world, and that we can be protected by the powerful influences in the world which may be our own parents, or may be the authorities, or what not.

Why is commitment the kryptonite of men, super and otherwise? [...] The trouble is that, deep down, most of us men believe we have a great deal in common with superheroes. This is the secret truth of all male thinking. I'm not even supposed to be telling you this. When men are growing up and reading about Batman, Spiderman and Superman, these are not fantasies, these are options.

This is an imaginary story (which may never happen, but then again may) about a perfect man who came from the sky and did only good. It tells of his twilight, when the great battles were over and the great miracles long since performed; of how his enemies conspired against him and of that final war in the snowblind wastes beneath the Northern Lights; of the women he loved and of the choice he made between them; of how he broke his most sacred oath, and how finally all the things he had were taken from him save one. It ends with a wink. It begins in a quiet midwestern town, one summer afternoon in the quiet midwestern future. Away in the big city, people still sometimes glance up hopefully from the sidewalks, glimpsing a distant speck in the sky... but no: it's only a bird, only a plane — Superman died ten years ago. This is an imaginary story... aren't they all?

Superman is nothing more than a popular retelling of the Christ story, or Greek mythology. It's an archetype, watered down and made in vivid colors for twelve-year-old's mentality. It's pop mythology, which extends to the actor, then seeps over to a demand that that actor reflect the needs of the worshipers. The worship doesn't only go on in the temples — it goes on in the streets, and restaurants, in magazines. But, you know, I'm from New Jersey, I'm not from Olympus or Krypton, so back off 'cause I can't take the responsibility.

The superman is a premature ideal, one that presupposes a man.

One night, when all the thoughts were coming to me, the concept came to me that Superman could have a dual identity, and that in one of his identities he could be meek and mild, as I was, and wear glasses, the way I do. The heroine, who I figured would be some kind of girl reporter, would think he was some kind of worm; yet she would be crazy about this Superman character who could do all sorts of fabulous things. In fact, she was real wild about him, and a big inside joke was that the fellow she was crazy about was also the fellow whom she loathed.

ANA. Stop! [The trap stops]. THE DEVIL. You, Señora, cannot come this way. You will have an apotheosis. But you will be at the palace before us. ANA. That is not what I stopped you for. Tell me: where can I find the Superman? THE DEVIL. He is not yet created, Senora. THE STATUE. And never will be, probably. Let us proceed: the red fire will make me sneeze. [They descend]. ANA. Not yet created! Then my work is not yet done. [Crossing herself devoutly] I believe in the Life to Come. [Crying to the universe] A father! a father for the Superman! She vanishes into the void; and again there is nothing: all existence seems suspended infinitely. Then, vaguely, there is a live human voice crying somewhere. One sees, with a shock, a mountain peak shewing faintly against a lighter background. The sky has returned from afar; and we suddenly remember where we were.

There is another reason why Superman has had good influence. That is the years of continuity of the Superman character. The children know that Superman will always come out on the right side. On that, I can give you another story about what they wanted to do. At the end of the Second World War we had the problem of a certain number of soldiers coming home as amputees. One of the script writers got the bright idea that we ought to prepare children for their fathers coming home as amputees by having one of the characters─ I don’t think it was Superman ─ one of the others ─ have an accident and lose his leg. They wanted to know what I thought about that idea. I said I thought it was absolutely terrible because I felt that the children loved this character and, after all, how many children were going to have to face the question of an amputee father? Certainly there are far better ways of preparing such children for such a father than to have to shock the whole comic reading children public. So I disapproved of it.

Because it all derived from Superman. I mean, I love all the characters, but Superman is just this perfect human pop-culture distillation of a really basic idea. He's a good guy. He loves us. He will not stop in defending us. How beautiful is that? He's like a sci-fi Jesus. He'll never let you down. And only in fiction can that guy actually exist, because real guys will always let you down one way or another. We actually made up an idea that beautiful. That's just cool to me. We made a little paper universe where all of the above is true.

What makes Superman a hero is not that he has power, but that he has the wisdom and the maturity to use the power wisely. From an acting point of view, that’s how I approached the part.

In Superman, some of the loftiest aspirations of our species came hurtling down from imagination's bright heaven to collide with the lowest form of entertainment, and from their union something powerful and resonant was born, albeit in its underwear.

The Reign of the Superman

Dare to face the situation...Man has become a superman... But the superman with the superhuman power has not risen to the level of superhuman reason. To the degree which his power grows he becomes more and more a poor man... It must shake up our conscience that we become all the more inhuman the more we grow into superhuman.

Oh Superman, where are you now?