Quotes of All Topics . Occasions . Authors
I don't read much of anything online.
I'm a fan of parchment and wood pulp.
I try personally not to be nostalgic.
I never feel there's anything I can't do.
I originally just wanted to be an artist.
But I enjoy the opportunity to use swear symbols.
In an art school it's very hard to tell who is the best.
People seem to need a likable protagonist more than ever.
Try letting a Kindle protect your heart from sniper fire!
I was 30 before I made a living that was not embarrassing.
Nobody else feels the same way about your dog that you do.
When I close my eyes to draw I always think Chicago in 1975.
I'm more interested in characters who are a little difficult.
Comics seldom move me the way I would be moved by a novel or movie.
Working on movies made me realize how fluid the medium of film was.
I think I have a very clear vision of what I want things to look like.
That'll be my claim to fame: My grandmother-in-law is the oldest iPad user!
I'm not opposed to comics on the Internet. It's just not interesting to me.
I think I'm gonna attach myself to the sinking ship that is book publishing.
For me, the whole process involves envisioning this book in my head as I'm working.
I tend to be the type who is overly polite and sort of ingratiating to other people.
I like to leave a little room to innovate and change things around while I'm working.
Yeah, I don't necessarily like endings that contrive an artificial moment of completion.
I'm always hiding the books in my closet, and my art's always turned upside down in my drawer.
I love the medium and I love individual comics, but the business is nothing I would be proud of.
Even if I only had 10 readers, I'd rather do the book for them than for a million readers online.
I never know if a book is crazy or not. There's that fear - this is the one that will end it all.
I actually start drawing things. Usually they're abandoned before I commit too much time and effort.
I had no television when I was little, just a stack of old, beat-up comics from the 1950s and 1960s.
For me, the whole process involves envisioning this Ghost World comic book in my head as I'm working.
Avatar is a total nerd thing, and yet our popular culture has somehow made all that stuff acceptable.
As soon as I'm finished with it, it feels like an impersonal project. Like, "Well, I did another book."
I think I've had the fantasy of a ray-gun that could erase the world from the time I was a very little kid.
I feel like I understood the language of comics. I had a real fluidity with that medium at a very early age.
When I go back and reread the stuff, I'm always floored by how deeply personal and revealing it actually is.
Superman's always chasing after someone who just mugged somebody, and I've never seen that happen in my life.
I feel like a lot of my aesthetic was in response to feeling the awfulness and cheapness of that [ the 70'th].
I think that's what we're all most terrified about: that we'll just die and disappear and we'll leave no trace.
Everybody just lets the media do their thinking for them... that's why you'll never hear any reggae on the radio!
Before I could read, I remember trying to piece together the stories from the images. It was a very primal experience.
I really want people to read the book, and bookstores never sold an issue of Eightball because nobody knew what it was.
I'm always looking for things I imagine must exist, but don't - this is usually the impetus to create that thing myself.
I was thinking the other day that there will never be another form of music that everybody has to respond to - like disco.
For example, I noticed that every single kid in the high school in 'The Death-Ray' is based on somebody I went to high school with.
That's the biggest part of doing comics: You have to create stuff that makes you want to get out of bed every morning and get to work.
In a movie, you have to be mindful that no budget is going to be able to deal with running around the globe at every whim of the writer.
I started drawing at a very young age. Writing a story wasn't satisfying, but to actually draw our own world - it's like controlling your own dreams.
It's a challenge to express real life in dramatic terms. In an entirely "made-up" story, you are sometimes overwhelmed by the infinite possibilities.
You need to be, like, turning down high-paying illustration work because you want to work on your comic. That's when you know you're doing something good.
You try to make the world a better place and what does it get you? I mean, Christ, how the hell does one man stand a chance against four billion assholes?