Comics Quotes
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Space does for comics what time does for film!
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Still,[...] in all forms of comics the sequential artist relies upon the tacit cooperation of the reader. This cooperation is based upon the convention of reading and the common cognitive disciplines. Indeed, it is this very voluntary cooperation, so unique to comics, that underlies the contract between artist and audience.
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The term comics long ago became obsolete and inaccurate. It merely defined the content of the early joke-based comical strips. Sequential Art is a more accurate description of the form. I first suggested it because I believed something needed to be done to correct the feeling of inferiority by artists and writers in this field.
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I think all comics borrow from each other. Only a few have an original voice, and I wasn't one of them. In the end, I couldn't figure out who to steal from, so I stopped doing it.
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I went to art school, and that's how I got the internship, and then I started a band. But I always missed comics, I always wanted to do them.
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I ended up reading comics and just started drawing at a very young age. By high school, I was putting together longer stories. In college, I started doing strips for the newspaper and doing mini-comics. It sort of grew in scope and scale over time.
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There are very few comics that understand about exciting the crowd, and that's what I always prided myself on: giving a more confident macho attitude towards delivering material.
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The thing about 'Watchmen' that people should know is that when it came out there was absolutely nothing like it. Up until then, comics were about the same thing: a guy in tights fighting another guy in tights and saving the girl - that was it.
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That's the type of thing you need to keep in mind when drawing comics. The storytelling. Consider the action and the space available to you, that's what will make it a great comics page. Once you've figured that out, you can always find/make the reference to support your storytelling decisions. So by all means, study film, but as with any reference, the results are better when they inform the craft and not dictate it.
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I loved underground comics and psychedelic art. I did like some supernatural horror, but mainly fantasy. I was into escapism.
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I got cast on 'MADtv' as one of eight permanent cast members chosen from 8,000 comics who'd been screened. For any comic trying to make something of themselves, that was like hitting triple 7s-jackpot.
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I don't think the potential for comics in nonfiction has been exploited nearly as much as it could be.
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I'd love to see more equal representation of female and male cartoonists on the comics page.
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It was cool to me, as a fan of the comics, to see some of the villains that end up finding them there, and the way that they abuse Coulson before the superheroes come. I'm always, in the movies or in the animated series, getting into trouble that a superhero has to bail me out of.
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I never think there's any competition between films. I root for everybody's films. I especially have a fond place in my heart for graphic novels and comics.
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Comics, a lot of them, are really depressed people, and I happen to be somebody that does have a lot of confidence. That's the odd thing about my stand-up. I am very confident. I always was.
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The good part of what comics trains you to do is it trains you - especially if you've worked in mainstream comics like Marvel and DC, or if you're just doing your own independent comics - to compartmentalize things and work on multiple things at the same time. And that's a skill that is incredibly handy in Hollywood, because within the first year that you get here, you realize there's a reason why every successful person in Hollywood has like seven or eight projects up in the air at any point.
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If you don't have that empty white space around everything in the comics, the border of the page, then it feels like you're a little claustrophobic.
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Comic-Con is definitely grown from just being about comics to being about all forms of media.
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It's cool if people want to make movies of stuff, but I'm really interested in the comics.
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A lot of young artists in particular think you can just do one great thing and then sit back and collect checks. Most artists, even people like Dan Clowes, who's one of my heroes, don't just do comics. He does paid illustration. He writes screenplays, and so forth, working and selling lots of different things.
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It was harder to break into comics than it was to become a singer in a rock band.
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A lot of the other things in my life like making music, you know that's a very collaborative thing so I work on comics because it's not something that's a solo activity.
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When I was nine years old I use to copy - not trace - the covers of the Donald Duck comics. Many years later I became a close friend of Jack Hannah, the director of the Donald Duck film shorts.
