Top 110 Quotes & Sayings by Daniel Clowes
Explore popular quotes and sayings by an American novelist Daniel Clowes.
Last updated on November 23, 2024.
You can give some kind of spark of life to a comic that a photograph doesn't really have. A photograph, even if it's connecting with you, it seems very dead on the page sometimes.
I never feel there's anything I can't do.
People seem to need a likable protagonist more than ever.
I was 30 before I made a living that was not embarrassing.
For me, the whole process involves envisioning this book in my head as I'm working.
I was a very fearful little kid, and I would always see the worst in everything. The glass was half-empty. I would see people kissing, and I would think one was trying to bite the other.
That'll be my claim to fame: My grandmother-in-law is the oldest iPad user!
For example, I noticed that every single kid in the high school in 'The Death-Ray' is based on somebody I went to high school with.
Yeah, I don't necessarily like endings that contrive an artificial moment of completion.
When you see somebody who's got a complaining personality, it usually means that they had some vision of what things could be, and they're constantly disappointed by that. I think that would be the camp that I would fall into - constantly horrified by the things people do.
I think I've had the fantasy of a ray-gun that could erase the world from the time I was a very little kid.
I have this certain vision of the way I want my comics to look; this sort of photographic realism, but with a certain abstraction that comics can give. It's kind of a fine line.
Working on movies made me realize how fluid the medium of film was.
When I close my eyes to draw I always think Chicago in 1975.
Even if I only had 10 readers, I'd rather do the book for them than for a million readers online.
I'm more interested in characters who are a little difficult.
In an art school it's very hard to tell who is the best.
Nobody else feels the same way about your dog that you do.
I tend to be the type who is overly polite and sort of ingratiating to other people.
That's the biggest part of doing comics: You have to create stuff that makes you want to get out of bed every morning and get to work.
Superman's always chasing after someone who just mugged somebody, and I've never seen that happen in my life.
When people get things for free, they tend to not take them as seriously.
I love the medium and I love individual comics, but the business is nothing I would be proud of.
I think I'm gonna attach myself to the sinking ship that is book publishing.
I must have been 3 years old or less, and I remember paging through these comics, trying to figure out the stories. I couldn't read the words, so I made up my own stories.
Try letting a Kindle protect your heart from sniper fire!
But I enjoy the opportunity to use swear symbols.
I don't read much of anything online.
In a movie, you have to be mindful that no budget is going to be able to deal with running around the globe at every whim of the writer.
It's embarrassing to be involved in the same business as the mainstream comic thing. It's still very embarrassing to tell other adults that I draw comic books - their instant, preconceived notions of what that means.
I'm a fan of parchment and wood pulp.
I'm not opposed to comics on the Internet. It's just not interesting to me.
Comics seldom move me the way I would be moved by a novel or movie.
I originally just wanted to be an artist.
I had no television when I was little, just a stack of old, beat-up comics from the 1950s and 1960s.
I try personally not to be nostalgic.
I think that's what we're all most terrified about: that we'll just die and disappear and we'll leave no trace.
I'm always looking for things I imagine must exist, but don't - this is usually the impetus to create that thing myself.
At a certain point, I realized that I could draw anything, and there was nothing I should avoid - I could make it work. That's opened me up to being able to be much more comfortable telling any kind of story.
I really want people to read the book, and bookstores never sold an issue of Eightball because nobody knew what it was.
You try to make the world a better place and what does it get you? I mean, Christ, how the hell does one man stand a chance against four billion assholes?
Everybody just lets the media do their thinking for them... that's why you'll never hear any reggae on the radio!
I like to leave a little room to innovate and change things around while I'm working.
If you think about it enough to have a really articulate answer, you're not doing it right. That's how I feel about art. If your thought process could take you to knowing exactly what you're doing and why, there would be no point in making the art. It would become like propaganda. It's more nebulous than that.
I lose faith in everything else, but rarely in my work. If I start to get bored, I change it to make it more interesting. I try not to take it too seriously, but I also try to never cheat or hurry things along.
Face it, you hate every single boy on the face of the Earth!" "That's not TRUE, I just hate all these obnoxious, extroverted, pseudo-bohemian art-school losers
I try to only work on the screenplays for a few hours a day when I'm in my most voluble mood, just sort of writing whatever comes into my head. It's a very freeing thing.
I never feel there's anything I can't do with comics. There are certain things in comics that you can't do in any other medium: for instance, in Mister Wonderful, Marshall's narration overlaps the events as they're going on. That would be difficult in film; you could blot speech out with a voiceover, but it wouldn't have the same effect. That's always of interest, to see what new things you can do in comics form.
For me, the whole process involves envisioning this Ghost World comic book in my head as I'm working.
I enjoy the opportunity to use swear symbols. The reader reads into them something worse than what you normally would have. They work as this outburst of incoherent anger. I've found ways to write around swearing that are much more effective, rather than going for what someone really would say.
The greatest moment of my life was, somebody sent me a cable-access show from Chicago that had Joey Ramone on it showing the video we made together. And he was talking about, like, "This guy Dan Clowes postponed his wedding for us. He's a great guy."
It's much more liberating as a artist to feel like you can approach each page and each panel with the way that inspires you the most. I think the thing that bogs down a lot of artists is that you're kind of stuck drawing in a style you've developed.
I think a comic looks better in the magazine. The colors are designed to be on paper, not illuminated on screen. I don't like the aspect of people reading it for free. When people get things for free, they tend to not take them as seriously. But I don't know. I'm sure 10 times more people are reading it online than in the actual paper.
I have a very low tolerance for animation. I'm used to the perfect integrity you get from drawing your own comics. There's something about that that animation always loses.
I never know if a book is crazy or not. There's that fear - this is the one that will end it all.
I actually start drawing things. Usually they're abandoned before I commit too much time and effort.
It's a challenge to express real life in dramatic terms. In an entirely "made-up" story, you are sometimes overwhelmed by the infinite possibilities.
In some ways, I never outgrew my adolescence. I wake up in the morning and think, 'Oh my God, I'm late for a math test!' But then I say, 'Wait a minute. I'm 40.
The secret to being alone is to organize your time; to develop habits and routines and gradually elevate their importance to where they seem almost like normal, healthy activities.
Something I always wanted to do, to capture that later half of the '70s. It's like the early half of the '70s is still the '60s, in that there's still kind of a playfulness and inventiveness in terms of design and the things that were going on in the culture. The second half, it got much more commodified. It's possibly the ugliest era of architecture and clothes and design in the entire 20th century, from 1975 to '81 or '82.
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