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.
I think of it this way: When you hear that people have downloaded your comic, appreciate that thousands are eager to hear what you have to say. The poetry club down the hall may not have the same problem. That’s a good problem to have.
When I met my wife, I was a working comic, so the first week we went out, she saw me perform, and it was very clear what I do.
Anybody who knows me knows I would never read a comic book.
I’ve always had a soft spot for comic books. I learned to read from them. The words in them were so interesting.
Sleep is important for a comic – like it is for a lot of people.
I did plays in high school, and I usually got cast in the comic role, which I really enjoyed.
I’ve always wanted to play more comic parts.
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.
At any comic book convention in America, you’ll find aspiring cartoonists with dozens of complex plot ideas and armloads of character sketches. Only a small percentage ever move from those ideas and sketches to a finished book.
I do screen work, adult books, kids books and comic stuff, which gives me a pretty full plate. The problem is usually choosing which one I want to work on next.
I find the comic book audience a lot more intense than the fantasy one, definitely.
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.
The other thing that I started doing for myself was, I went through my diary of ideas that I keep and made sure that the translation of the comic to the movie was good.
Comic books and The Chronicles of Narnia. My mother used to read those to me and my twin brother growing up.
To my ear, the term ‘comic novelist’ is as redundant and off-putting as the term ‘literary novelist’.
When I was a kid, there were these great comic books called ‘Tales From The Crypt’ and ‘The Vault of Horror.’ They were gruesome. I discovered them in the barbershop and thought they were fabulous.
I’ve been writing for a long time, and I’ve loved comic books for a long time – forever – but I had to learn how to write in a different way to write sequential art for a graphic novel. It’s been an interesting transition.
As a female comic, if you talk about sex in any capacity, you will be branded a ‘sex comic,’ so I might as well go full force on it.
Seth Meyers and I wrote a ‘Spider-Man’ comic.
I can say pretty confidently that I am not the right guy to do a superhero movie, just because I was not a comic book kid. I don’t know that mythology, and I don’t have it ingrained in me in the way that a lot of these other directors do.
In comedy, it’s not the glamorous, beautiful people that are great at comedy. They’re either every man or every woman, they’re either quite tall and lanky or shorter and fatter or have a big nose. They have something physically about them that makes them into a comic stereotype.
I used to collect comic books. I had a substantial collection. I collect records also, but those have gone the way of the world.
‘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 suppose I would still prefer to sit under a tree with a picnic basket rather than under a gas pump, but signs and comic strips are interesting as subject matter.
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.
Radio Shack is meeting the fate of many other stores that were wildly popular in the twentieth century, including record stores, comic book stores, bookstores and video stores.
It was said Daredevil grew up in Hell’s Kitchen, an amazing name for a neighbourhood. But that opened a Pandora’s box of all the crime stuff I wanted to do. I borrowed liberally from Will Eisner’s ‘The Spirit’ and turned ‘Daredevil’ into a crime comic.
Superman was my first comic back in the ’50s; that was me under the bedspread with the flashlight reading comic books.
When I was about 12, I spent the summer writing four plays on my dad’s old typewriter for a school play competition. And I wrote little comic bits at secondary school and at university.
All comic books take place in built environments, and I was very good at drawing people and animals, and stuff like that, but I hadn’t spent much energy drawing buildings. So I thought, maybe I could, and then I became an architect.
I’ve always been a big fan of utopian, future, new-world stories – ‘V For Vendetta,’ comic books, graphic novels.
Co-writing the ‘True Blood’ comic is a dream come true both as a performer on the show and as longtime comic fan. It’s a real privilege to build on the rapidly growing ‘True Blood’ mythology.
There’s a difference between being a comic and a comedian. A comic is a guy who says funny things, and a comedian is a guy who says things funny, and he has a style and point of view that will last much longer.
For me, the reason to make the movie is that if people like the comic, then people would like the movie if it was well made. There are good movies for them, but very few. And I mean that in a true sense. If they love your story for freaking 30 years, then they can do a movie about it.
Writing a comic book series, you’re so reliant on whoever the artist is. It truly is collaboration.
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.
When you’re a standup comic, you get up and you try stuff, and you’re always kind of seeing how far you can push things.
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.
I’ve always loved science fiction, fantasy, manga, comic books; so I guess, to some degree, those things influence my personal idea of what looks nice, which definitely isn’t everyone else’s.
As a brunette, I had previously been this serious actress. Then I became a blonde and got to play a completely different, comic role.
I was never really a nerd. I’m not really into comic books or Dungeons and Dragons or any of that kind of stuff. I was in drama class, and I’m a big movie and music buff. And I’m into sports.
I read the ‘Deadpool’ series back in the ’90s. I’m not, like, a huge comic book reader, per say, though. I’ll check out ‘Archie’ when I’m in the grocery line, but that’s about it.
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.
To drive a car in rural America is freedom. Before I had a car, I’d never seen a rock and roll show, I’d never seen a comic or a show.
When I get some budding young comic who’ll come up to me and say, ‘What was it like to do it in those days?’ I try to be as gracious to him as Stan Laurel was to me.
A lot of comic actors derive their main force from childish behavior. Most great comics are doing such silly things; you’d say, ‘That’s what a child would do.’
Two things I really wanted to be: a stand-up comic or a New York Yankee – or a really funny New York Yankee.
I’m not a comic. I’m a humorist.
I understand the visual media very well, as I used to write comic books for Walt Disney, and I’ve written a graphic novel.
I read a lot of comic books and any kind of thing I could find. One day, a teacher found me. She grabbed my comic book and tore it up. I was really upset, but then she brought in a pile of books from her own library. That was the best thing that ever happened to me.
I’m a storyteller. I’m not like any other comic. I tell detailed stories – not made-up stuff, but true stories.
My dad taught me to read by reading comic strips in the Saturday paper and Archie comics.
I grew up as a fan of comic books, and I’ve been reading them for so long that I’ve never felt an affinity toward just one.
The comic book world is so dangerous, you know what I mean? You say one thing and people – they’re ravenous – they are very opinionated fans. But they’re great fans.
If a comic laughs at their own jokes, I don’t like it. They shouldn’t find it funny; they should seriously believe in this stupid thing they’re saying.
