A Quote by Alexander Weinstein
Wit and humor seem to always factor into this - there's a tongue-in-cheek tone you get when you take on a formalist story - because there's an inherent voice you're trying to copy (and often to satirize).
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Wit is artificial; humor is natural. Wit is accidental; humor is inevitable. Wit is born of conscious effort; humor, of the allotted ironies of fate. Wit can be expressed only in language; humor can be developed sufficiently in situation.
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That dark humor has always been a part of what I've done. It's always been somewhat tongue-in-cheek.
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People are complex, and I think it's a huge element of what I do, because you have to balance out the fact that you talk about quite serious things with a sense of irony and tongue-in-cheek humor. That's my personality as well.
I think that there's always a time to be tongue-in-cheek, and there's always time for humor, but there's a time to be serious and a time for emotional content.
Good copy can't be written with tongue in cheek, written just for a living. You've got to believe in the product.
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Richelle Mead delivers sexy action and tongue-in-cheek hellish humor-if damnation is this fun, sign me up!
It's not like changing one word with my lyrics is going to make them more intelligible or relatable. I was always very misunderstood and taken as very pretentious and serious all the time. I would think, "Do you not see there's a lot of tongue-in-cheek and humor here?"
Wit penetrates; humor envelops. Wit is a function of verbal intelligence; humor is imagination operating on good nature.
I think humor is warmer, and wit is colder. Wit is judgment, whereas humor invites some sort of response.
I hope that 'Gambit' doesn't take ten years, but it takes a little honing to get that tone and that voice exactly right. The character has such a specific voice in the comic, in the same way that Deadpool has a specific voice in the comic, that we want to make sure that we capture that voice on the page.
I used to get stuck trying to find the first sentence of a story, then I realised that it was often because I didn't know what problem a character was facing in the story. As soon as I did, I could have the character trying to do something about it or have the problem whack him between the eyes.
Probably a dozen times since their death I've heard my mother or father, in an ordinary conversational tone of voice, call my name. They had called my name often during my life with them ... It doesn't seem strange to me.
The inspiration is all in the script, in the text. So whatever it is, either it is a film or a book to be illustrated, anything. Everything you need to know is in the text. So the thing is trying to find right tone and voice, the right style, the right way of expressing the emotions in a story or in the location of the story, but it is all in the text.
