A Quote by Matt Groening

Charles Schultz is a really interesting case. He wrote that comic strip and drew it himself from beginning to end, and it's a work of genius. It's very simply drawn, but it has some really deep emotions that you don't expect in a silly-looking comic strip.
'Blade Runner' was a comic strip. It was a comic strip! It was a very dark comic strip. Comic metaphorically.
The comic strip is what I looked at, and it's another reason I did it. The comic strip, where animals would comment on human behaviour, interested me.
I'd always enjoyed the comics more, and felt that as long as I was unemployed it would be a good chance to pursue that and see what response I could get from asyndicate, as I didn't have anything to lose at that point. So I drew up a comic strip - this was in 1980 - and sent it off and got rejected. I continued that for five years with different comic strip examples 'til finally Calvin and Hobbes came together. But it's been a long road.
Looking back Little Lulu was an early feminist, but at the time I just thought she was a really feisty developed comic strip character.
I tried to do a comic strip. I came close, and I met with Universal Press Syndicate in Kansas City, but ultimately, they did not go with my strip.
Comic-strip stuff isn't really my cup of tea, really.
I wasn't intending to create a comic strip to begin with. So I think I wasn't aware that when the strip started, there had never been a woman's voice quite like this in the newspaper.
It seems so absurd to get really mad with a cartoonist over a comic strip. It's sort of like getting in a fight with a circus clown outside your house. It's not going to end well.
There's a rhythm to the words combined with the pictures [in a comic]. Whenever I'm working on a comic strip I re-read it, probably hundreds of times through to pay attention to how all of those things work. Sometimes even changing the angle of a character's eyebrow can really, seriously alter the effect and overall interpretation of a scene. And the insertion of a pause or a cough or a sniff, and all these things that we do in conversation, can bring it to life in a strange way.
It seems beyond the comprehension of people that someone can be born to draw comic strips, but I think I was. My ambition from earliest memory was to produce a daily comic strip.
Sometimes people try to read into my strip and find out what my state of mind is. And I can say if I'm in a good mood, generally the comic strip starts out in a good mood, but the punchline is very negative and sour.
In the right hands, a comic strip attains a beauty and elegance that, really, I would put against any other art.
I did freelance cartooning off and on from college graduation in 1991 through ABC News hiring me in 2003. I did a weekly comic strip for 'Roll Call' for about nine years. I sold cartoons and caricatures to 'The Los Angeles Times' and 'The Washington Post.' I drew as much as I could. It's really tough to make a living doing it.
Back in the olden days when we were rubbing sticks together, everybody wanted to have a comic strip, to live in Westport Connecticut, to have a Jaguar and to have a wife and two and a half kids and to have a girl in town in their studio in Manhattan that they'd romance, and then they'd have people ghost their strip. It was like this big dream.
For a long time I wanted to be a comic strip artist but when I started doing them in my teens they were getting really elaborate with tons of poses and a lot of information.
The key to any good comic strip or television sitcom is to reset the board at the end of the episode because people like familiarity.
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