Comic Quotes - Page 22

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I had seen other comic friends of mine go to indie labels. Like David Cross and Pat Oswald went to Subpop, and Subpop didn't make total sense for me, but the metal version of that did. So I made a small list with Metal Blade, Prosthetic and couple of other labels, and Relapse was one of them.

We never thought we were writing for posterity, because at the time everyone assumed that all the great standards had already been written by Irving Berlin, Cole Porter, Rodgers and Hammerstein... The songs we were writing were supposed to be temporary things, of the period, like comic books.

In high school, I had to hide my comic book side, my nerd side from the civilian world so they wouldn't categorize me. They would try to marginalize me for what I like. I tried to give it up, believe me. I tried to kick the habit. But there's too much I liked about it to give it up completely.

I was a standup comic, which doesn't necessarily mean you interact with people all that much. In fact when I did shows, I wouldn't talk to the audience very much. Then my friend offered me a radio show, and I thought, you know, I'll try talking to people and see what kind of interviewer I was.

If you record the world honestly, there's no way people can stop being funny. A lot of fiction writing doesn't get that idea, as if to acknowledge it would trivialize the story or trivialize human nature, when in fact human nature is reduced and falsified if the comic aspects are not included.

When I first started making comics, I was living with a bunch of guys, old college friends. We had this deal. At the end of each day, they would ask me how far I'd gotten on my comic. And if I hadn't made my goals, they were supposed to make me feel really bad about myself. They happily obliged.

I think the comic that's gotten me the most feedback is actually the one about the stoplights. Noticing when the stoplights are in sync, or calculating the length of your strides between floor tiles - normal people notice that kind of stuff, but a certain kind of person will do some calculations.

It took forever for me to get work because I was a political comic, and now it's become good business, and God knows how long that'll last. You have to do it night after night after night to kind of make it. I still find myself on 'Piers Morgan' or on some show and I think, 'I hope this is funny.'

Half of me is this wacked-out comedienne who will do anything for a buck and a laugh. Well, at least for a laugh. But the other half is a lot darker, sadder and more pensive. It's the dark side that feeds the outrageousness and allows it to surface. I think that's true for anyone with comic flair.

I created 'Captain Underpants' when I was in the second grade. I was constantly getting in trouble for being the class clown, so my teacher sent me out into the hallway to punish me. It was there in the hall that I began drawing 'Captain Underpants'. Soon I was making my own comic books about him.

In the beginning, when I was doing my shows, I was incorporating a lot of Spanish, just trying to be a Latino comic instead of just a comic. Now I try to make the show as broad as possible... I don't want to alienate people. I want to make it so everybody can follow along and everybody can relate.

People, they think that animation is a style. Animation is just a technique. It's like, people, they think that comics is a style, like comics is a superhero story. Comic is just a narration, and is a medium, you can say any kind of story in comics and you can say of any kind of story in animation.

I came to think that nobody from England could draw American comic books, because they were clearly all done by this sort of Mafia, all these guys with Italian and Irish names who had the whole thing sewn up. It was actually seeing a comic book drawn by Barry Smith, who was about my age, and English.

I think readers are always patient. Look at the 'Harry Potter' series. Some have given up on this generation of kids as game and TV addicts, but lots of people spend lots of time patiently reading through hundreds of pages of dense prose. I think reading a comic by comparison is a lot more immediate.

My dream was to draw for 'The Beano.' When I was 10 years old, I started drawing cartoon strips with 'The Beano' in mind. I lived in that world. You own a comic, it's yours and adults don't understand it. You could pile them up under the bed, and if you were off school ill, you'd go through them all.

I'm a huge, huge comic book fan. I love the superhero movies so much. If I had to be one of the Avengers, I would go with Thor. I would have to. I just think I look the part too much, and I'm a fan of all of them, but Thor would be something that I think I could put on. I think I could make it happen.

My platform has been to reach reluctant readers. And one of the best ways I found to motivate them is to connect them with reading that interests them, to expand the definition of reading to include humor, science fiction/fantasy, nonfiction, graphic novels, wordless books, audio books and comic books.

One time, I came off stage and a guy named Roman Decare, God rest his soul, he was a comic. 'Louie, if you do that family stuff, and you're a clean comic on stage, you'll become famous.' And, for some reason, a switch clicked, and I started doing the family stuff, and it became a giant part of my life.

To my mind, the most successful and the best comic book illustrators are those who translate the real world into a consistent code. If you look at Jack Kirby or Steve Ditko, their drawings look nothing like the real world, but they are internally consistent. In terms of a comic book it can work just fine.

To be a true comic, you have to have a signature move. You ever watch wrestling? And your favorite wrestler has the one move that he always does to finish his opponent off, right? Like when he climbs on the rope, and he always jumps off the top rope and finishes off his opponent - that's what a comic has.

Horror used to be one thing, and I think that's starting to broaden - there can have subgenres, and other things can be going on in a horror story. In comics, you'll never get the 'Boo' effect in a comic; you can go for mood, atmosphere and personal tragedy to build the horror elements and sense of dread.

It's just a great, legendary comic book hero and it's one that has never been kind of been brought back to life after Lynda Carter. I mean, it's a reinvention. When Tim Burton reinvented Batman after Adam West, and when Donner reinvented Superman after George Reeves, it's time to do that with Wonder Woman.

Doris Roberts had an energy and a spirit that amazed me. She never stopped. Whether working professionally or with her many charities or just nurturing and mentoring a green young comic trying to make it as an actor, she did everything with such a grand love for life and people, and I will miss her dearly.

I've been writing all these books that have been largely autobiographical and yet, really, they don't tell you anything about me. I just use my life story as a kind of device on which to hang comic observations. It's not my interest or instinct to tell the world anything pertinent about myself or my family.

In 2015, an opera opened about me and Justice Antonin Scalia. It's called 'Scalia/Ginsburg.' The composer, Derrick Wang, has degrees in music from Harvard and Yale. Enrolled in law school, he was reading dueling opinions by me and Justice Scalia and decided he could compose an appealing comic opera from them.

I was an enormous fan of Dan Slott's run, and John Byrne's run was a big deal for me. I found Slott's version of 'She-Hulk' first, and then I went back and looked up some of the older stuff because I liked it so much. And it was so good. It was perfect. It was my perfect comic book at the time that I found it.

I wanted to make an explicitly educational comic that taught readers the concepts I covered in my introductory programming class. That's what 'Secret Coders' is. It's both a fun story about a group of tweens who discover a secret coding school, and an explanation of some foundational ideas in computer science.

My failed corporate career became the fodder for the 'Dilbert' comic. Once it became clear I would not be climbing any higher on the corporate ladder, it freed me to mock managers without worrying that it would stall my career. Most failures create some sort of unplanned freedom. I took full advantage of mine.

The next time I write a play - in order to get audience trust for a particular sort of tragic line, I'll try to bring the audience a good distance before that. Part of that is allowing comic moments to occur. I had been afraid of that - that once the audience started laughing in the play, they would never stop.

When I was a kid, I wanted to be serious, like Daniel Day-Lewis. No one really dreams of being a comic actor, do they? Now I realise how stupid that is - and it's because comic acting isn't taken seriously enough. It's a discipline. You know instantly - either you're funny and getting the laughs, or you're not.

I'm really happy that more and more people are making their own comics. I remember how daunting it was for me to just put pen to paper, page by page, until you had a finished comic, but the way new creators are doing that and bravely bringing their unique voices and experiences to their work is really inspiring.

Hollywood loves pre-validation. Even if someone has a property that was first published as a comic book that sold only 5,000 copies, for Hollywood, that is a stamp of approval. 'Oh, it was already published in another medium? Must be good!' They get assurance from knowing that someone else already took the risk.

One of the interesting things about Twitter is looking how famous people choose to use it. Take someone like Steve Martin, who I follow: it's all sorts of comic gems, nothing private, nothing personal - all jokes. Other celebrities are overtly personal - like Charlie Sheen. I do a mix of observations and updates.

'Modesty Blaise' is not well known in the United States, but in the United Kingdom, she's an institution - especially for a comic book reader of a certain age. She's a wonderful creation, and her strip ran in newspapers for a long time. So whenever female spies come to mind for us, they think of 'Modesty Blaise'.

I didn't know too much about his comic book history. I know that in 'Teen Titans,' he's much more the comedic relief. But after reading the comic book iteration of Cyborg in 'The New Teen Titans' from the 1980s that Marv Wolfman and George Perez had worked on, I saw that there was a lot of texture to the character.

At the Sahara, the seats are banked and most of the audience is looking down at the stage. Everybody in the business knows: Up for singers, down for comics. The people want to idealize a singer. They want to feel superior to a comic. You're trying to make them laugh. They can't laugh at someone they're looking up to.

Changes can be made. New decisions can be made. If people say, 'It's not like that in the comics!' Well, comic books reinvent their characters a lot. They do different things with them all the time. They're always changing, always keeping things fresh. So that shouldn't be an issue if the race changes for a character.

I'm not a child star, but you could say that I've grown up on TV. I went from being an unknown, down-and-out comic from Brooklyn and the Bronx to being a regular character on a major network comedy called 'Martin.' From there I went on to become the most notable black comic on 'Saturday Night Live' since Eddie Murphy.

Also, I think having that comic gene kind of makes you look at things in a different way. If you take yourself so seriously, eventually you end up one of those people having a 'Do Not Disturb' sign on their lives. You see them drawing the curtains and they don't even realize that they've kind of drifted off somewhere.

Actors go, 'I just want to act.' And I say to them, 'You know, stop for a second and think about what charges you up the most. Do you want to be on the stage, do you want to be in film, do you want to be a comic actor? Do you just want to make it for the money and capitalize on your look and do commercials and soaps?'

The difference between 'Watchmen' and a normal comic book is this: With 'Batman's Gotham City,' you are transported to another world where that superhero makes sense; 'Watchmen' comes at it in a different way, it almost superimposes its heroes on your world, which then changes how you view your world through its prism.

I don't choose something unless I think I have a personal understanding and something I can offer. It's not always thematic. I wanted to do 'The Grinch' because I wanted to direct Jim Carrey creating that kind of comic fantasy character live. I just thought that would be a mind-blowing experience, and it creatively was.

I always start drawing any job by planning out to some degree the locales and trying to nail the characters. If they're existing characters, I'll draw them several times on rough paper just to get a feeling for them. The ideal when you're drawing a comic is to have everything in your head, not to have to refer to notes.

I used to publish these stories in 32-page comics, and I would either do short stories or break the long ones up into chunks so there would be some variety inside the comic. But since then, people have been doing more and more long, standalone works, and the term 'graphic novel' has sort of become the codified term now.

With the stand-up comic on TV, whether it's Seinfeld or Cosby or Roseanne, more important than their knowledge of how to tell a joke is their knowledge of themselves, or the persona they've created as themselves. So that when you're in a room with writers, you can say, 'Guys, that's a funny line, but I wouldn't say it.'

I hate it when I'm reading a comic, and the dialogue looks like stickers stuck on top to explain what's going on. For me the best is when your eye goes in a certain point and moves through the composition and then springs out on the dialogue, or gets confused in the image and then goes to the dialogue for an explanation.

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.

Why not take a science fiction comic and put the characters in a small town to gain their particular perspective? A lot of that comes from me growing up in a small town on a farm, so that's what I know and what I'm comfortable with. My drawing style is also very sparse and minimalist, so a rural setting complements that.

I did a 'Last Comic Standing' audition in 2006, where you're just performing for three people in a comedy club, in a big comedy club, and I remember them cutting me off, asking about my name in the middle of one of my jokes. Yeah, it's just real weird when you're doing stand-up in that type of sterile, unnatural setting.

The thing about Marvel is that they're not - they're into real acting. They're looking for artists that are willing to take chances and are willing to create characters. Even if that character has been around for years and years in comic books, they still are depending on us to create something and take it somewhere else.

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