A Quote by Adrian Tomine
When I'm sitting at my drafting table in my studio, I could really be anywhere.
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Recording at Compass Point was really fantastic. When you're in the studio, you could be anywhere: It could be snowing outside or whatever. But it's great fun when you come out of the studio and are greeted by nice weather and good bars.
There was so much going on. I remember a very interesting dinner in the studio of [Robert] Rauschenberg. He had convinced Sidney Janis, Leo Castelli, and a third big gallery man to serve us, the artists, at the table. So they were dressed up as waiters, we were sitting at the table, and they were only allowed to sit down at the end of the table for the cognac. This is not possible now.
When I was a student, my first luxury purchase was a drafting table. It may not seem like a major purchase, but for me, it was the most important thing I could think of to spend my money on.
Without fail, every cartoonist that I asked advice from bent over backward to be helpful and encouraging. It took many forms: some of it was just an implicit acceptance, like being invited along to the dinner with all of the good cartoonists, or sitting down at a drafting table with an artist and him showing me how to draw backgrounds and perspectives.
I think that my career and perhaps me being on the International Space Station can really show women and girls and everybody that hey, we're not just sitting at the table, we're leading the table.
I used to carry a notebook to the studio. I don't do that no more 'cause I don't have the time to write anywhere but right there in the studio on the spot. So when you hear my stuff, know that I wrote it in the studio.
Very few negotiations are begun and concluded in the same sitting. It's really rare. In fact, If you sit down and actually complete your negotiation in one sitting, you left stuff on the table.
You can use an eraser on the drafting table or a sledge hammer on the construction site.
Americans are curious about the texture of everyday life in the Middle East because they rarely get to see it. I wanted readers to feel like they were sitting around the dinner table with me and my friends, hearing what average people really say and really think, [where] the dinner table is the best place to find out.
If I were straight and I were trying to seduce a woman, I could do it just by standing up at the table when she came back from the bathroom. It works. Every time I do that, all the straight men are sitting at the table and their wives are kicking them. "Look at that!" "You never do that for me!"
I really love New York, but I have to say, the humidity during the summer is a nightmare for a cartoonist. Not only am I sweating in my studio, my bristol board is curling up, the drafting tape is peeling off the board, my Rapidograph pens bleed the minute I put them to paper... it's a disaster.
I'm not a big fan of table reads or sitting around a table and reading a script. I'd rather do it on set and do it for real.
You know, I had a new kind of thought on Black Lives Matter and the All Lives Matter thing. And the best way to explain it is if we're all sitting around at a table having dinner, and everybody gets pie except for you and you say, my pie matters, I don't have pie, and everybody at the table looks at you and says, I know, all pie matters, it shows that the people at the table aren't really listening.
I literally have a bowl of Jolly Ranchers sitting in my studio. You can just pop those things in. They're really amazing.
You know that you're part of a Spielberg production when you've got some aliens involved, but you really know when you're sitting there at a table read, and they say, 'Steven really wanted it this way.'
The studio is really fun because I don't make it into the studio unless I've got something I really like. I love working with different musicians in the studio; that's a real joy, working with someone for the first time.
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