Frank Miller Quotes
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3,000 of my neighbors were murdered. My country was, utterly unprovoked, savagely attacked. I wish all those responsible for the atrocity of 9/11 to burn in Hell.
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Sometimes the solitary voice can be the best one.
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It is more raw and unfettered and I'm more likely going into something you could call extreme cartooning. There's a lot of that in the course of 'Holy Terror.' There are interludes where there are pictures - cartoon pictures - of modern figures and they are all wordless. It's up to readers to put the words in.
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We're constantly told that all cultures are equal, and that every belief system is as good as the next. And it led to a kind of - and generally, that America was to be known for its flaws rather than its virtues.
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Hollywood is a town; it's not a medium. And cinema is a medium you can practice anywhere.
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I don't own an ounce of the work I've ever done on 'Batman,' and I still work on 'Batman.' I love the character, I think it's a lot of fun, and it's kind of fun to be in that ballpark every once in a while, where you're seeing a different crowd.
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'Occupy' is nothing but a pack of louts, thieves, and rapists, an unruly mob, fed by Woodstock-era nostalgia and putrid false righteousness. These clowns can do nothing but harm America.
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What's happened with computer technology is perfectly timed for someone with my set of skills. I tell stories with pictures. What I love about CGI is that if I can think it, it can be put on the screen.
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Cartoonists' dirty secret is that we tend to come up with stories that involve things that are really fun to draw.
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When you think of what Americans accomplished, building these amazing cities and all the good it's done in the world, it's kind of disheartening to hear so much hatred of America, not just from abroad, but internally.
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When you have a brush in your hand, inking a beautiful woman is a lot like running your hands over her.
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I'm a comic book artist. So I think to myself, what do I like to draw? I like to draw hot chicks, fast cars and cool guys in trench coats. So that's what I write about.
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Comics are so full of amazing work. And I can't look at a drawing of a woman without thinking of, for instance, Wallace Wood and his amazing way of capturing beauty.
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I grew up on the crime stuff. Spillane, Chandler, Jim Thompson, and noir movies like Fuller, Orson Welles, Fritz Lang. When I first showed up in New York to write comics back in the late 1970s, I came with a bunch of crime stories but everybody just wanted men in tights.
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I don't do a comic book thinking there is a movie. I just want it to be as good a comic book as it can be.
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Think of me as the weathered sheriff coming back into Dodge 'cause the youngsters are shooting up the church and scaring the horses and not doing right by the women.
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The larger-than-life thing is definitely what I'm after. I've always drawn dark stories. Occasionally, I'll try a perfect hero, but it's a real stretch for me. I like 'em warts and all, and obsessive and weird.
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Comic-book pages are vertical, and movie screens are relentlessly horizontal. But it's all the same form. We use different tools, but we get the job done. I'm completely in love with CGI. It's great for conveying a cartoonist's sense of reality.
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But I'm not trying to convince anybody how to vote or how to live. Nobody's ever successfully accused me of being realistic.
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I realized that I was about to turn 30, and Batman was permanently 29. And I was going to be damned if I was older than Batman.
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It was said Daredevil grew up in Hell's Kitchen, an amazing name for a neighbourhood. But that opened a Pandora's box of all the crime stuff I wanted to do. I borrowed liberally from Will Eisner's 'The Spirit' and turned 'Daredevil' into a crime comic.
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Where I would fault President Bush the most was that, in the wake of 9/11, he motivated our military, but he didn't call the nation into a state of war. And he didn't explain that this would take though a communal effort against common foe.
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I think most things I read on the Internet and in newspapers are propaganda. Everyone from the 'New York Times' to Rupert Murdoch has a point of view and is putting forth their own propaganda. They're stuck with the facts as they are, but the way they interpret and frame them is wildly different.
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The Spartans were a paradoxical people. They were the biggest slave owners in Greece. But at the same time, Spartan women had an unusual level of rights. It's a paradox that they were a bunch of people who in many ways were fascist, but they were the bulwark against the fall of democracy.