Quotes of All Topics . Occasions . Authors
It meant something to see people who looked like me in comic books. It was this beautiful place that I felt pop culture should look like.
I would like to do more dramas when I find a good role that will allow me to politely upset people's expectations of me as a comic actor.
Funny things tend not to happen to me. I am not a natural comic. I need to think about things a lot before I can be even remotely amusing.
I was a very sickly kid. While I was in the hospital at age 7, my Dad brought me a stack of comic books to keep me occupied. I was hooked.
You can't teach someone to be funny, but you can teach comic timing. If you listen to a good comic, you can learn how to put it on a page.
Every comic went through their Mitch Hedberg phase - the glasses, the hair in the face - and you knew immediately when they were doing it.
Creating my own world in a comic or selling my first penny newspaper aged nine was a way of gaining recognition and acceptance by my peers.
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 observe everything around me and when something hits me and it's funny, that's what I talk about. I'm a more observational kind of comic.
I want to get away from my comic image. Not that I won't do any more comic roles, but I won't opt for the usual 'Govinda' type of comedies.
My wife could give a rip about comic books, but she loves 'Arrow,' and she loves 'The Flash,' and she likes them because of the characters.
My whole comic persona is that of a guy who explores the id: I romanticize gluttony, I romanticize laziness, and people identify with that.
If I had never ventured beyond being a stand-up comic, then I would be sitting in my house today working on my Leonardo DiCaprio impression.
As a former stand-up comic from my University of Michigan days, the opportunity to participate in a Friars Club roast was bucket-list stuff.
My reason for getting into the film business was a Spider-Man comic called 'The Night Gwen Stacy Died' when I was a kid; it changed my life.
The first novel I wrote, 'The White House Mess,' was a comic novel. It came out in 1986. It was a parody in the form of a White House memoir.
I think in daily newspapers, the way comic strips are treated, it's as if newspaper publishers are going out of their way to kill the medium.
I'm not a mean comic, I don't want to turn anybody off - I just want to give a point of view or my take on things that everyone can laugh at.
I tell the stories in front of audiences and wait for something to happen. It's similar to a standup comic doing his schtick for an audience.
Television and comic books are, and continue to be, probably the biggest influence in my life. It's the biggest influence on everybody's life.
I'm sort of killing two birds with one stone here, getting to write for 'True Blood' and being able to put myself in a comic at the same time.
There are great comic books, these great geniuses that manage to tell you a story in one frame, and that became the thing that opened my eyes.
I really don't have a lot in common with the people who attend the Comic Con. It's like assuming that all people who write prose are the same.
If you're 25 years old dressed up like Superman at a comic book convention, that's great. If you're 78 and you're doing it, something's wrong.
What interested me in doing 'Dragonball' was that it's a huge comic book series that has built a great fan base, and it's a great action movie!
I guess I don't have much interest in writing straight drama. So whatever subject matter I choose will ultimately be dealt with in a comic way.
What happens, I think, is especially for comic effect you find something about yourself that you don't like. You exaggerate it, and it's funny.
There's no getting around it - I am a politically incorrect, racially insensitive, culturally controversial comic, but at least I'm self-aware.
Every time I think about writing, comedy doesn't interest me in the slightest. I can play comedy, but I don't think in terms of comic dialogue.
Since I got an audience before I even had a comic voice, my material that really wasn't worthy of an audience somehow got it, slightly unfairly.
If a comic comes out on the scene and it's really knock-out brilliant, the community is pretty good about getting the word about good newcomers.
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 wasn't a comic book geek as a kid. I read some, but it was just like, 'Oh, I have this comic book here.' It wasn't like I was collecting them.
I never was a big comic book fan. Obviously I'd heard them growing up from my friends who did read them, but I never was a big comic book reader.
The copycat effects of media violence, similar to those previously attributed to westerns, radio serials and comic books, are easy to exaggerate.
In a comic strip, you can suggest motion and time, but it's very crude compared to what an animator can do. I have a real awe for good animation.
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.
I think that if you are looking at a comic that's made by one person, that there's just a level of intimacy that I don't really see anywhere else.
It's no secret that in my books I'm trying to make the comic and the serious rub up against each other just as closely and uncomfortably as I can.
My hero in comic books is Jack Kirby: 'Spider-Man,' 'Fantastic Four,' 'Captain America,' Marvel Comics. He was really the basis for Marvel Comics.
I watched so many comic book movies where the actors weren't as built as the characters in the book. It made me mad because they didn't look right.
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.
It feels amazing to just be here and be able to share my jokes with the world. It's not so much about being a girl, it's about being a funny comic.
When I left drama school, my fear was that I'd get pigeon holed into comic acting and I did so much to counter it that I got stuck in the opposite.
Comic strips are like a public utility. They're supposed to be there 365 days a year, and you're supposed to be able to hit the mark day after day.
I think too many comic book covers are way too busy, crammed with far too much information, both visual and verbal, that just becomes a dull noise.
My mother had all these maxims - like, classy girls never chew gum, never read comic books, never get their ears pierced, never get their hair dyed.
As you get older you're told to be sensible, but it's important for writing if you're a comic that you're able to still access that childlike thing.
It's hard to transfer one person's type of comic timing or approach to another person's. It's something you innately hear like a rhythm in your ear.
I grew up not reading fiction; I watched movies and read comic books, and one of the ways I taught myself to think about narrative was through film.