Comics Quotes
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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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One of the best things about my job is that I get to meet a lot of great children's and YA authors at events all over the country. So I figured it might be fun to interview some of them and turn the interviews into short online comics.
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As long as somebody is guaranteed a certain number of sales you know you're gonna keep seeing these vanity projects. I mean they have a place, they serve a function they can bring people into comics.
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I always wanted to give people the more exciting version of what I think a comedian should be - because I didn't grow up with comics, I grew up with rock 'n' roll. And when I saw a lot of comics, no matter how good they might have been material-wise, I would get a little bored with them after 10 minutes, only because I feel comedians don't really know performance.
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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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It was harder to break into comics than it was to become a singer in a rock band.
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I had done a couple TV pilots, and a friend of mine wanted to leave comics and come work in Hollywood, and I said, "Well, you've got to understand that when you sell a TV pilot, imagine if you turned in the best issue of Batman ever, and DC was like, 'Well we love this, but we can't publish it because we have to publish this other thing by this other person." The odds are really long on getting anything made, so if you come from comics and you're still making a living in comics, that really helps because you're not desperate for someone's permission to write for a living.
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Comics is a great medium to get a lot of stories out.
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Comics who grew up surviving their childhood by being able to be the first one to make the joke about their weight or their hairy arms - like me - whatever they're insecure about, whatever they're apologizing for, that becomes their strength.
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I read Superman comics when I was a kid.
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With comics, you can only really learn what you're doing wrong or what works best when you see your work published. I've been publishing comics since my 20s, and still, when I flip through any of my new comics, I still only see the things that I wish I'd done better. But that's how you learn, by seeing it.
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I'm just an actor who happened to love these [Marvel] comics when I was a kid, and got to rediscover them.
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There's a very big part of me that just wants to take all of comics history and toss it on the bonfire. I'd sort of like to get on to the future.
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The main way I start to allocate color is that it comes from the comics. That's where it all starts from.
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I have read countless comics books while listening to hip hop, and as a young one, I wasted countless hours practicing nunchuks to Schoolly D's "Saturday Night." I would give anything for a video of that.
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I wouldn't necessarily have been making books about how to make comics if I'd really felt I knew how to make comics.
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No offense to real jobs, but comics seemed a lot more fun.
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I spent 10 years in professional politics and eight writing comics, and so I look at it from both sides. I don't understand the logic in being frustrated with a system, so you choose to be a part of the reason why the system is so frustrating. If everybody voted, it wouldn't be this way.
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We as comics do want an immediate response from the audience. It's really quiet on the set, and there are only the producers, and the director, so a comic is looking for someone to give a reaction, even if it is the camera guy.
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The beauty with comics - and also the risk - is it is a far smaller number of voices. It's the writer and the artist and to a lesser extent the editor, who typically is the silent partner, if you've got a good enough team. Whatever you put out is the author's intent. You have to be able to defend that, of course. You have no one to hide behind, or no one to blame but yourselves, which I find refreshing because I've found in film too many times I've been blamed for other people's decisions.
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It's important to continue to change and evolve in the way that the comics change and evolve.
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Here's what I wish people wouldn't ask me: "Who are your influences?" That's a boring question. It's not even like, "What's it like to be a woman in comedy?" That question also happens often in interviews, but I at least understand where it's coming from. "Who are your influences" - I wonder if people ask that of male comics? Maybe they do.
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It seems to be a common denominator with a lot of comics, this low self-esteem thing.
