Comics artist Quotes

I had thought comics could only be one thing, and that was what mainstream comics were selling us. And the undergrounders proved anything you had in your head, as long as you had the skill to put it down on paper, was fair game. And I started filling sketchbooks with my own comics.

Think 8 hours, work 2 hours.

Working at home is hard. It tends to give you bad habits. It feels more like you're going to work when you get up in the morning and leave your house and go somewhere.

If we can't get more John Rovnaks in this world, let's all support the John Rovnak we've got.

However, the eleventh-hour nature of these changes left us frustrated and angry — because they prevent us from telling the best stories we can. So, after a lot of soul-searching, we’ve decided to leave the book after Issue 26.

You understand reality while everyone else is running around confused and angry and upset because they think reality is something happening to them rather than something they are making every moment with every thought.

I've gotta believe in what my heart tells in me, even if it's a fake thing.

Bring me a horse and I am yours forever

I was told I make intelligent comics, and then I made a comic about a horse that pooped.

I did with my wife a comic book for the Raynham Hall Museum in Long Island.

They sell the book every single time a busload of kids comes in.

I never thought of doing anything but comics, except maybe being a pilot.

Harvey Publications hired me as a letterer, and they found out six seconds after I got the job that I couldn't letter. I still can't letter. So, they hired me to draw.

Nothing funny about happy people. I don't know, you just look at a situation or a life, and you can kind of pick up the areas of conflict and delve in there, because that's where the most story is. If someone's happily married for 20 years, that's great, but it's not that funny.

I have a diverse audience, which is great, because I like doing things that are a bit more obscure, and I love doing things that are very popular as well. Each has its own bit of joy. So I try to mix it up.

Good writing is writing and rewriting and rewriting and rewriting.

Sometimes, it happens to work right away, and that's amazing. But most of the time, it happens to work, and then you rewrite and rewrite and rewrite, and maybe it even comes back to the thing it was in the first place, but then you know for sure that it is good, and it's what you wanted to do.

I don't spend as much time drawing as I do writing and reading.

That's the really work-intensive part. And by the time I have enough material, it's often way past due time to put the comic up, and I'm already behind schedule, and I have to kind of rush it.

I really believe in the power of comics as an educational thing, even ones as silly as mine, because they're a gateway to the actual thing. They're like an easy entrance.

A lot of the ways that I like to approach comic books, or anything like that, is not just the book itself, but the fans of it, the readers, the world that exists around it as a cultural object.

I could make you read the entire quadrant exposition again...BACK TO BACK TO BACK TO BACK.

Do you know how much power I have over you? Yes, you, the one just sitting there hitting the f5 button day in and day out!

I wanted to reinvent horror comics. I felt like it was my mission to open people's eyes to the fact that horror comics could be so much more than the popular perception of them.

Horror is one of the few genres - romance and comedy are the other two that come to mind - that's all emotion-driven. It's not a rational genre, like science fiction is. It's irrational by nature. And it is capable of exploring all aspects of human experience.

I hate superheroes. I always hated superheroes. From the time I was a little kid, I could believe in a 50-foot gorilla trashing New York City before I could believe a guy would put on long tights and bat ears and go and fight crime. Like, the fantasy never made sense to me, on a basic level.

I think all kids understand from a very tender age that dinosaurs were real.

They really walked around. That instantly sets them apart from monsters. And it instantly makes them safe. Because you can love 'em, and they're never going to bite you. They're not like a dog. They're safer than a pet, in a weird way.

The power of monsters is, it is a way of giving almost tangible substance to fears, beliefs, things that aren't real. You can coalesce it and draw it, or describe it, and it's a monster.

If you have birds, or if you're a herpetologist and raise reptiles - you look in those eyes, and there is nothing there that's human. I mean, they don't think like us, they don't see the world like us.

I, as a storyteller, was asking questions no one in science had apparently asked. What happens in a nest of tyrannosaurs? They're precocial, meaning when they hatch, they're ready to feed and move about. My questions are "Hmm, if there's a nest of tyrannosaurs, and there's three siblings that survive, would they try to eat each other?"

When you're making your living as a writer or an artist or a musician, you kind of live in a trance. You're sort of in the day-to-day world, you're certainly there for your day-to-day relationships with people, and so on.

England have nothing to lose here, apart from this test match.

If this bloke's a Test match bowler, then my backside is a fire engine

What do I think of the reverse sweep? It's like Manchester United getting a penalty and Bryan Robson taking it with his head

We have to reserve the right to bomb the niggers.

I'm interested in how artists and writers do this, using art as therapy.

Escaping into the worlds we create. We're all victims and few of us are truly free.

Wimbledon is getting a bit too like Royal Ascot.

It's not what happens or who wins so much, as what clothes do I have on.

The Landlord is a gentleman who does not earn his wealth.

He has a host of agents and clerks that receive for him. He does not even take the trouble to spend his wealth. He has a host of people around him to do the actual spending. He never sees it until he comes to enjoy it. His sole function, his chief pride, is the stately consumption of wealth produced by others.

Not badly, considering I was seated between Jesus Christ and Napoleon.

Alan was always interested in politics in a major way.

He actually believes that anarchy is a politically viable system, but I don't. I was always interested in putting forward the ideas that represented my viewpoint. I feel the same about anything I'm doing.

I've always been a liberal and I've always had strong socialist leanings.

But if you have a point of view and you're an artist or a writer, it's kind of crazy to not take advantage of that, especially if you can do something that's entertaining as well. I've done a number of things like that over the years.

I do like to work on a Marvel method, so if I've got the opportunity, and the writer is happy to do it, I like to have a writer detail what happens on a page, but not saying what happens in every scene.

I just sit at the drawing board most of the time.

I am used to talking to people. I love going to conventions, getting feedback and talking to people. Some artists don't. Some artists sit at their drawing board because their personality actually dictates that.

I understand why people do vote on the conservative side of the ticket because people have a tendency to go for strong governments when really, from an idealistic point of view, it's a bad thing.

I'm interested in why people compromise when they shouldn't.

It comes back to what V's about in a sense. We've all got ideals, but given the right circumstances, we'll forget about them and put them behind us. I'm very interested in why people do that.

Kickback is a police thriller which I wrote.

I'm very proud of it. I did it in two parts for France because when I wrote it, there wasn't the audience demand for crime stuff that there is now.

We with [ Marjane Satrapi] always work together on the script which is very important. We even film each other and we start to imagine things so that we are ready, because when you start shooting, it's pretty stressful.

Once we were on the set, we each did different kinds of work.

I was doing more the technical stuff, the framing and the camera work, and she was working more with the actors. Marjane [Satrapi] and I don't stop speaking once we're on the set. We continue to talk. We define what our roles are going to be on set, because to have a snake with two heads is silly.

We [with Marjane Satrapi] both have very strong personalities, but that's completely normal, because even if you're very well prepared, you never know when you shoot live action.

There are always different things that can happen and I Marjane Satrapi don't want to yell at other people. It's easier if we yell at each other. We're still friends, so obviously it worked out.

For me, it was a wonderful surprise because I saw wonderful actors being very professional working in front of me [on Chicken with Plums]. I finally understood what an actor is and what an actor does. On a daily basis, it's a bit repetitive.

I love Taxi Driver. When I saw it the first time, I didn't understand it, but I loved it because I thought the guy was really cool when he's talking to himself in the mirror.