A Quote by Emil Ferris

Silent films weren't so different from my comics - the basic choice both offer an artist is what do you show and what do you tell. — © Emil Ferris
Silent films weren't so different from my comics - the basic choice both offer an artist is what do you show and what do you tell.
Comics as art. I do comics as comics, and my opportunity to tell stories. Simple. Basic. Let the characters have the excitement, not the package. That's where I come from.
Is there anything on earth which would have meaning and would even change the course of events not only on earth, but in other worlds?” I asked my teacher. “There is,” my teacher answered me. “Well, what is it?” I asked. “It’s...” began my teacher and suddenly fell silent. I stood and waited intently for his answer. But he was silent. And I stood and was silent. And he was silent. And I stood, silent. And he was silent. We’re both standing and silent. Ho-la-la! We’re both standing and silent. Ho-le-le! Yes, yes, we’re both standing and silent! 16-17 July 1937
Silent films were, I think, more different than we know to sound films. We think of it as simply that we added dialogue and in actual fact I think it was an entirely different art form.
Any platform that you use to tell stories helps you regardless of the medium regardless if they are bedtime stories that you tell your children or comics or film. Specifically what makes comics unique is that they are a storytelling device that forces you to think both visually and economically. Some might say you are limited by your imagination, but that is not true because someone has to draw it.
You gotta trust your artist. I love writing pages without dialogue, which seems weird, I guess. But few things are as powerful in comics as a really strong silent page.
I wasn't that familiar with silent films. I didn't know, for example, how hugely popular silent films were in the 1920s, how people would go to the movies several times a week.
Still,[...] in all forms of comics the sequential artist relies upon the tacit cooperation of the reader. This cooperation is based upon the convention of reading and the common cognitive disciplines. Indeed, it is this very voluntary cooperation, so unique to comics, that underlies the contract between artist and audience.
I'm a big fan of silent cinema and I think that before I got into the canon of European arthouse cinema, the first interesting films I liked as a kid were German expressionist silent films.
If Portland can truly have a true comics show that doesn't become a media show but retains its focus on comics, I think it's going to serve the city well. If this becomes a big show, it's going to bring in a lot of money for the city.
There are a lot of Chinese comics, but the Chinese comics tend to be more historical and conservative. Japanese culture, just the comics are amazing. They're like films: very few words; they move so much in these books with hundreds of pages.
Different films, different genres show the different things I do. It's nice because it brings different groups of people to following what I'm doing. So hopefully, it kind of reiterates that I'm not just a one-trick pony as well.
I did two films that have a great following. One is 'Caddyshack,' one is 'Tron.' To tell you the truth, most people don't know that it's me in both films.
Let me tell you, writing comics is as hard as anything I've ever done - for me, at least. I'm now officially in awe of guys who can crank out multiple books a month and maintain a high level of quality. Comics are completely different than any other medium I've dabbled in.
I would be delighted to show my film in the Viennale. I do not offer press kits. I do not offer stills. I do not offer screeners. I do not offer DVD's. I do not offer posters. I require a first-class flight to bring the print however I do not offer any photo ops or press exchange in any way. My fee for showing my film is $35,000 dollars US.
A moral choice in its basic terms appears to be a choice that favors survival: a choice made in favor of life.
Do you know anything about silent films?" "Sure," I said. "The first ones were developed in the late nineteenth century and sometimes had live musical accompaniment, though it wasn't until the 1920s that sound became truly incorporated into films, eventually making silent ones obsolete in cinema.
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