Quotes of All Topics . Occasions . Authors
Cheating on a quiz show? That's sort of like plagiarizing a comic strip.
We're having the first computer-generated comic strip in the United States.
To get syndicated as a comic strip artist is as likely as winning the lottery.
Well, I'm always working on my comic strip and trying to, you know, keep cranking that out.
I never thought Cathy would get married in the comic strip. And I also thought I would never get married.
Most films are rooted in a book or a comic strip, but I don't go out there saying I want to do adaptations.
'Blade Runner' was a comic strip. It was a comic strip! It was a very dark comic strip. Comic metaphorically.
'Jingle Belle' spins out of my love for just sitting down and reading a good, fun Sunday morning comic strip panel.
You learn just by trying and experimenting. By the time I was 14, I had my own comic strip in the Kansas City paper.
For a long time, I was under the impression that 'Terry and the Pirates' was the best comic strip in the United States.
A comic strip has a rhythm and a pattern, and you got to get in and out quick. So you set up a joke, tell the joke, and done.
The key to any good comic strip or television sitcom is to reset the board at the end of the episode because people like familiarity.
Looking back Little Lulu was an early feminist, but at the time I just thought she was a really feisty developed comic strip character.
The surprising thing was, it's actually easier working on animation than working on a comic strip, because Garfield is animated in my head.
I never thought Cathy would get married in the comic strip. And I also thought I would never get married in real life. So both are shocks to me.
I tried to do a comic strip. I came close, and I met with Universal Press Syndicate in Kansas City, but ultimately, they did not go with my strip.
You can write a little and can draw a little, but there's necessarily a limitation on both in a comic strip, since it appears in such a tiny space.
I admit TV is a far cry from the films that I started my career with, like 'Ek Doctor Ki Maut.' It's like reading Chekov and then going on to a comic strip.
The world of a comic strip ought to be a special place with its own logic and life... I don't want the issue of Hobbes's reality settled by a doll manufacturer.
I've always felt that the comic strip medium stands equally beside all the other story telling mediums: novels, movies, stage plays, opera, you know, you name it.
In America, there's a very long tradition of a comic strip that comes in newspapers, which is not true all over the world. To sell papers, they put color comics in.
A stand-up comedian faces the audiences and gets their immediate feedback. I hide behind the comic strip, and unless people write to me, I don't know what they think.
For a long time I wanted to be a comic strip artist but when I started doing them in my teens they were getting really elaborate with tons of poses and a lot of information.
I draw a weekly comic strip called Life in Hell, which is syndicated in about 250 newspapers. That's what I did before The Simpsons, and what I plan to do for the rest of my life.
It seems so absurd to get really mad with a cartoonist over a comic strip. It's sort of like getting in a fight with a circus clown outside your house. It's not going to end well.
Imagine my surprise when, after a lifetime of teaching me to keep personal things to myself, Mom insisted my drawings were the start of a comic strip for millions of people to enjoy.
I wasn't intending to create a comic strip to begin with. So I think I wasn't aware that when the strip started, there had never been a woman's voice quite like this in the newspaper.
One of the things you have to be able to do, as a comic strip artist, is to draw things repeatedly from a variety of angles, so you need references, and you find the best picture you can.
Writing this book feels like a completely different activity from writing my comic strip because it's about real life. I feel like I'm using a part of my brain that's been dormant until now.
My problems with 'Bonanza' were problems of communication. What we discussed would be, never was. I thought it would be a sophisticated show. Instead it never went beyond the comic strip level.
Sometimes people try to read into my strip and find out what my state of mind is. And I can say if I'm in a good mood, generally the comic strip starts out in a good mood, but the punchline is very negative and sour.
I am certain things to certain generations. Lots of people remember me from the 'Comic Strip,' there was the 'Vindaloo' song for the 1998 World Cup, then it was playing the Sheriff of Nottingham in the BBC's 'Robin Hood.'
I was in a position where I was going to wait for the 'Inbetweeners' film to come out before I decided what I was going to do next, but as soon I was asked to be involved with 'Comic Strip', I was incredibly flattered and jumped at it.
Readers have told me that their children have learned to read after years of struggle after starting to read Garfield's comic strip and many people who have moved to the United States have said that they, too, learned English by reading Garfield.
Bill Watterson argued with his medium even as he eclipsed it. He was all too aware that no artistic expression better exemplifies our disposable consumer culture than the daily newspaper comic strip: today's masterpiece is tomorrow's birdcage lining.
Charles Schultz is a really interesting case. He wrote that comic strip and drew it himself from beginning to end, and it's a work of genius. It's very simply drawn, but it has some really deep emotions that you don't expect in a silly-looking comic strip.
A comic strip that your parents read when they were young is a curious thing: it's an heirloom, and it's also intimate. You peer through windows and look at the things that made your elders laugh, and then you wonder whether the laugh really belongs to you.
When I was very little, four or five, I did comic strip drawings, so my first novel had no words. I couldn't write and thought adult handwriting was a mysterious scribble. When I was 14, my grandmother gave me a typewriter and I started writing in a different way.
I had been drawing my weekly comic strip, 'Life in Hell,' for about five years when I got a call from Jim Brooks, who was developing 'The Tracey Ullman Show' for the brand-new Fox network. He wanted me to come in and pitch an idea for doing little cartoons on that show.
I remember back when I was a kid there was a comic strip called Plastic Man. His body was elastic and he could make his extremities as long as he wanted. As a youngster I didn't fully appreciate. But I'm now thinking Plastic Man was probably pretty popular with the ladies.
Taking a comic strip character is very hard to write. Because comics are meant to work in one page, to work in frames with minimalistic dialogue. And a lot of it is left to the imagination of the reader. To do that in film, you've got to be a little more explanatory. And that requires a good screenplay and good dialogue.
I did freelance cartooning off and on from college graduation in 1991 through ABC News hiring me in 2003. I did a weekly comic strip for 'Roll Call' for about nine years. I sold cartoons and caricatures to 'The Los Angeles Times' and 'The Washington Post.' I drew as much as I could. It's really tough to make a living doing it.
I'm not good at narrative; I'm really a gag writer, and that comes from being in the newspaper comic strip world for a while in college. What I do is I just write tons of jokes, then I sort them out in terms of quality and then pick the best of the jokes and then try to form them into a plot. If I get a good theme going, I feel lucky.
For the uninitiated, 'Calvin and Hobbes' is a daily comic strip detailing the antics of an unruly six-year-old and his misanthropic stuffed tiger. The boy, whose vocabulary is packed with more 10-dollar words than a GRE flashcard set, is named after John Calvin, the Reformation-era theologian who preached the doctrine of predestination.
Back in the olden days when we were rubbing sticks together, everybody wanted to have a comic strip, to live in Westport Connecticut, to have a Jaguar and to have a wife and two and a half kids and to have a girl in town in their studio in Manhattan that they'd romance, and then they'd have people ghost their strip. It was like this big dream.