Top 93 Quotes & Sayings by Jim Lee - Page 2

I think there's a responsibility of the publisher, of the company, to make sure the staple books that have been around for decades come out in a timely manner.

I played a little bit of 'City of Heroes' - they have a really great character generation system. I was pretty impressed with that. I played 'World of Warcraft' with my kids. That's a lot of fun.

Superman tends to stand very upright, and he's very symmetrical, and those are actually the most difficult poses for me to draw.

I think when you're knee-deep in coming up with editorial plans, the desire to sit down and pencil something is pretty strong.

So much of comics are dictated by characters talking to one another - or in focused spaces where 'the camera' has to stay in pretty close on what's going on.

As a gamer, I like to go up and look at people's faces and see how good of a job they did.

The thing that weighs the most on how your final artwork turns out is the amount of time you have and the speed at which you can move.

There are a lot of global decisions that you can make as a co-publisher, and only publishers can make those kind of decisions. At the same time, there are some things you can do only as a penciler or creator. I want to keep my hands in both pots, so to speak.

I always figured Metropolis was north of New York, actually. Between New York and Boston, in my mind.

I tend not to look at my work after I've done it. In fact, the only time I typically get to review it is when the fans bring up comics at shows, and I kind of flip through it and be like, 'Oh, I remember doing this!'

Any time you change something classic or iconic, you're going to have some part of the fan base up in arms.

It's interesting - a lot of what you accomplish in your lifetime either as an individual or as a company is determined by other people. I mean, you can do interview after interview and defend a point of view, but more often than not, the collective kind of opinion will be the one viewed historically and taken as gospel.

Once I started down the path of co-founding Image Comics, and even co-publisher, it just seems a lot more like a career path that isn't that atypical for someone with a college degree. Whereas, someone who draws comic books as a freelancer and lives from job to job is a more unusual story.

There is the intent of the writer and the interpretation by the artist. What the writer intended and what the artist interprets is not a 1-to-1 translation. It's a crossing of ideas that generates the stories that you see in print.

I've been trying to make this argument that digital comics and print comics are both art, but there are subtle differences.

In the '50s, a lot of stories were built around radiation and the proliferation of new technology. In the '70s, there were a lot of stories that dealt with the Vietnam War. So comic books have always been a reflection of the times we live in.

I love the fact that I get something new to do almost every day and have new challenges.

I rarely draw myself, in general, and if I do, I tend to do little cute manga-esque, almost bite-sized drawings of myself.

More often than not, the fans really gravitate towards who's on the cover as opposed to how it's drawn or how it's composed, and so, a lot of the time, what an artist likes will be very different from what a fan likes.

'The Authority,' by Warren Ellis and Bryan Hitch, really pioneered the widescreen, action-packed style of storytelling.

Superman is the hardest character to draw. There are a couple of things that make him difficult. He's got a very simple costume and doesn't have the long cape like Batman. He's not a character that is necessarily always in shadow, and he doesn't have a mask.

I try to do a lot of asymmetrical, triangular compositions - I find those work really well for comic book covers in that portrait mode, and I don't always see that in other artists.

The first time I drew a Superman story was 'For Tomorrow' with Brian Azzarello in 2004. It didn't really hit me how important it was until I drew a scene early-on in the book that featured Superman crossing paths with a giant, intergalactic space armada.

I have a tendency to do the epic kind of long shot and put in everything that you need to know. And that's by design; that's the kind of approach I take to it.

Alasdair Fraser's Culburnie Records has quietly become one of the best Celtic music labels today.

I really want to try to explore the characters from angles you've never seen and keep them classic and iconic.

[Superman and Lois are] kindred spirits, and they always choose to do the right thing.

Creating and producing creative work, to me those are all happy accidents.

There was a real sophistication and elegance to (Batman: The Animated Series). It certainly appealed to kids but had a depth that really made it fascinating and interesting to watch for adult fans. I think visually, it was stylistically stunning.

Al Plastino helped redefine Superman in the 1950s. His work on Supermans Girlfriend, Lois Lane, Adventure Comics and pretty much any title in the Superman family will be fondly remembered for years to come. He will be missed.

I'm really trying to focus on the storytelling, more so than ever before I think, partly because it makes for easier pages.

Lois pursues the truth no matter what sort of adversity faces her. I think Superman sees that, and it's the same moral compass that he has from the Kents.

There's also a lot of punch you get from doing an extreme closeup and have it just be that image with nothing around it. There's a clarity and precision and impact there that you sometimes lose if you put everything else in that background.