Quotes of All Topics . Occasions . Authors
For the first time in your conscious memory; for the first time in fact, since your were a baby; a single tear, full and warm, rolled down your right cheek and you fell into a very deep and entirely dreamless slumber.
Your impulses are your closest communication with your inner self, because in the waking state they are the spontaneous urgings toward action, rising from that deep inner knowledge of yourself that you have in dreams.
Comics are too big. You can't say any kind or genre of comics is better than another. You can say so subjectively. But to say it like it's objective is wrong. It's wrong morally, because it cuts out stuff that's good.
With each of those projects I wasnt thinking about how the layout would really affect the story I was working on - it wasnt the content that was affecting the layout, it was, how I wanted to draw at that point in time.
The scientists at the end of the 19th century had people coming to them with this weird behaviour, and they didn't know what was going on but there seemed to be a similarity. They needed an answer, so they made up one.
But they always just laugh off everything I say, when really I want absolutely nothing more than to destroy the world they live in and to watch them suffer, alone and miserable, trying to live in my world for a change!
If I had learned how to get along in the quotidian world while keeping up the search for the hidden realm, I might have gotten more out of life. But I believed I was doing hugely important work. I was elitist about it.
It's one thing to have a relationship, to lay your hands on it, and another to make it continue and last. That's something I haven't talked about much in my comic strips, and it's certainly something I'm interested in.
My work is so unorthodox that from one panel to the next, the drawings are completely different... totally opposed to the way of working in something like animation, where every drawing has to look like the one before.
People really want to think that these things really happened. I don't know why that important, but I know that when I finish reading a novel or something, I want to know how much of that really happened to this author.
I've been deadline-driven for my whole grown-up life, and that hasn't gone away. It is nice to be able to reflect about the big picture, about what kind of stories you want to tell, and how to take advantage of success.
It is tempting to think of your husband-to-be as just another bridal accessory. It may be easier for him to play along with this too. After all, you don't expect your shoes or your beaded bag to help you make decisions.
One way of understanding a graphic novel is that it's an ambitious comic and one way or another my comics have had ambitions. I have no problem with escapism. When I get my depressions all I want to do is escape reality.
Sometimes I lie awake at night and I ask, "Is life a multiple choice test or is it a true or false test?" ...Then a voice comes to me out of the dark and says, "We hate to tell you this but life is a thousand word essay.
With each of those projects I wasn't thinking about how the layout would really affect the story I was working on - it wasn't the content that was affecting the layout, it was, how I wanted to draw at that point in time.
When people started reading me and talking to me about the work, they didn't say how funny, or how satiric, or how brilliant, or how this or how that, they said, how'd you get away with it? How'd you get that into print?
In contemporary art culture, where good looks and clever strategic planning of art careers have become a feature, professional practice may be taught in art schools like a branch of public relations or political science.
I had the impression in art school that cartooning was thought of as a lesser art than painting because cartoons are reproduced, so the "work" is not the single thing like a painting, but instead is the reproduced image.
The magical approach is indeed the natural approach to life's experience. It is the adult version of childhood knowledge, the human version of the animals' knowledge, the conscious version of 'unconscious' comprehension.
Are you upset little friend? Have you been lying awake worrying? Well, don't worry...I'm here. The flood waters will recede, the famine will end, the sun will shine tomorrow, and I will always be here to take care of you.
Sick I am of idle words, past all reconciling, Words that weary and perplex and pander and conceal, Wake the sounds that cannot lie, for all their sweet beguiling; The language one need fathom not, but only hear and feel.
About 85 percent of what you see is just because I get on the phone and [say], 'Let's go do this'. I don't do any market research or test groups or focus [groups]. I just go, 'It's my company; would I buy it, personally?'
What makes American Elf so good is that it's incredibly personal and it runs the full spectrum from super-sickening sweetness to gut-wrenching terror and sorrow. It's a funny and powerful window into a real person's mind.
I brought samples in, because I didn't have any comic book samples, and I brought all these illustrations that I had influenced by Norman Rockwell and a couple of the other big boys. That's all I had, that's all I brought.
I have a personal definition of cartooning, which is, simply, "imaginative drawing." Anything you're drawing that is not in front of you but is a mental construct that you want to express in a drawing is, to me, a cartoon.
People claim that love is the deepest feeling, but don't you believe it. Loneliness is the most affecting of human emotions. Nothing makes life more vivid. If you wish to live in the moment, I recommend intense loneliness.
A lot was happening, plus there were an enormous number of people in the industry that were going to conventions, so it was a pretty fun time. Also there was a lot of controversy and I was at the forefront of some of that.
I don't think so, but it's always in the back of my mind that many of the soldiers being wounded and killed in Iraq are about the same age as my kids. My godson is going over soon, so the war's about to get personal for me.
Yes, and when I had Aaron, he left me, and I didn't know how to raise a child. And I wasn't close to my parents, and because I was too proud to go to my parents for help, I mistreated that little baby. I didn't want a baby.
I pledge impertinence to the flag waving, of the unindicted co-conspirators of America, and to the republicans for which I can't stand, one abomination, underhanded fraud, indefensible, with Liberty and Justice.. Forget it.
Our solution on 'The Simpsons' is to do jokes that people who have an education, or some frame of reference, can get. And for the ones who don't, it doesn't matter, because we have Homer banging his head and saying, 'D'oh!'
As a child, I dreamed that my bed could fly and glide and swoop and hover high over the countryside near my home while, snug and secure, I looked down in wonder at the great carpet of life that seemed so perfect beneath me.
The linchpin is an individual who can walk into chaos and create order, someone who can invent, connect, create, and make things happen. Every worthwhile institution has indispensable people who make differences like these.
When you live from freelance check to freelance check, your mind is always on "What's the next piece I'm going to write, or draw, that'll pay this month's rent?" And so going out to play ball with my kids was a low priority.
'Seconds' is all about spaces, and I guess spaces are kind of like people in that they can be haunting and alluring before we even really get to know them, and after prolonged exposure, they can become mundane or oppressive.
I don't think anyone ever sets out to make a crappy movie, but there are a lot of forces working against those people who are trying to make something decent. There are a lot of fine lines to walk and small battles to fight.
I'm against government giving money to artists, but I'm not against artists taking money. Just like I don't have a moral problem with people taking healthcare from the government, but I don't think government should give it.
Usually when I sat down to draw a cartoon, it would be more of a reflection of things in my past. Or it could be something I had experienced that morning, or that week, or something I might know that's part of my background.
I thought some of my earlier cartoons were not exactly great shakes at the time I drew them. Now I see a certain innocence in them. The humor has a kind of purity to it, I guess. And it works better on some level for me now.
In the pathways between office and home and home and the houses of settled people there are always, ready to snap at you, the little perils of routine living, but there is no escape in the unplanned tangent, the sudden turn.
It works in the comic book, but as the audiences have gotten older and more sophisticated, I think the stories need to grow up with them. This is a story about a couple of rival gangs and what goes wrong in a couple of days.
he technology that threatens to kill off books as we know them - the "physical book," a new phrase in our language - is also making the physical book capable of being more beautiful than books have been since the middle ages.
As a small kid, I came across things like these early Edward Gorey books in department-store bookstores. These were these really unusual objects to me. I didn't know how they fit into the comic world or into newspaper comics.
I was never interested in the two-party system per se. I was interested in how authority was abused by government, and how lies were told, and rewritten, to seem to be true. I came up out of a tradition of radical journalism.
Remember when you were in school and the teacher would put a picture under an overhead projector so you could see it on the wall? God, I loved that. Tellya the truth, I used to look at that beam of light and think it was God.
I don't care how many friends you have on Facebook or how many followers you have on Twitter. Those are not actual friends or truly followers. I care about how many people will miss you if you're not back here again tomorrow.
There's a long history of anthropomorphic animals in Japanese literature. The so-called 'funny animal scrolls' were the first narratives in Japanese history, and the heroes of many folk tales have animals as their companions.
The technology that threatens to kill off books as we know them - the 'physical book,' a new phrase in our language - is also making the physical book capable of being more beautiful than books have been since the middle ages.
That's the conundrum of cartoon stripping, as opposed to political cartoons. When your anger is the driving force of your drawing hand, failure follows. The anger is OK, but it has to serve the interests of the heart, frankly.
My mother had always taught me to write about my feelings instead of sharing really personal things with others, so I spent many evenings writing in my diary, eating everything in the kitchen and waiting for Mr. Wrong to call.