A Quote by Daniel Clowes
I think there was a point that I realized I could do what I wanted to do in terms of the drawing. I used to run around a lot of things. I would shy away from certain things that I realized would be horrible for me to draw, and just wouldn't be fun.
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What I learned in 'Sons' is that I would come in with a blueprint of a season and how it would go, and I realized that the looser my grip was, the better it became because the story found itself. Things happened as I wanted them to in terms of the bigger mile markers, but the fun part was I never knew how we would get there.
I used to work in an office in New York for this terrible company, and we used to have staff meetings, and I would just count how many times the boss would use the phrase "in terms of." And he would say it like 30 or 40 times. And sometimes he would just say it. He'd be like, "Uhh, in terms of, how are we doing with that?" I realized nobody knows what they're talking about. Everyone's bullshitting. Maybe not everybody, but certainly a lot of people.
Have you ever realized that you can give things to God that are of value to Him? Or are you just sitting around daydreaming about the greatness of His redemption, while neglecting all the things you could be doing for Him? I'm not referring to works which could be regarded as divine and miraculous, but ordinary, simple human things - things which would be evidence to God that you are totally surrendered to Him.
I just think my own ambition would not allow me to sit on the gifts that my creator had given me. And so that's when I realized that I could actually go away.
At a certain point, I realized that I could draw anything, and there was nothing I should avoid - I could make it work. That's opened me up to being able to be much more comfortable telling any kind of story.
I had these experiences as a kid; I remember certain things happening in school that were horrifying that I would see, certain things of violence or certain things of cruelty, but around that, something might happen afterwards to cause everyone to laugh, and that always blew me away.
I realized I could run after finding out that my dad used to run and it gave me the morale that if he did it then maybe I could also run.
I was a very happy child, so to speak. But, since we didn't have video games or television, and very little radio, in terms of a form of entertainment, I used to read a lot and I would draw a lot, and those two things used to occupy my time.
One change of attitude would change everything. If everyone realized that it could be a beautiful world and said, 'let's not do these things anymore - let's have fun.'
Sometimes I will draw people and they will move away too quickly for me to finish what I wanted, and it is not enough for me to consider it a drawing of them. I hope I have gotten better at capturing things quicker in a drawing.
One of the things that makes Wittgenstein a real artist to me is that he realized that no conclusion could be more horrible than solipsism.
I don't even know what would have happened to me had I not become a model. I don't know if I would have gotten out of Oklahoma. I was so young when things started happening for me and I realized I could make a living.
As I sat down, though, I realized that you can get used to certain luxuries that you start to think they're necessities, but when you have to forgo them, you come to see that you don't need them after all. There was a big difference between needing things and wanting things--though a lot of people had trouble telling the two apart--and at the ranch, I could see, we have pretty much everything we'd need but precious little else.
I wanted to do journalism, as I was an idealist. Then, in my second year of journalism, I realized that in real life, things don't work the way you expect them to. I realized that I could express my ideas better through films.
When my grandmother died, I realized that even if I had millions of dollars, I couldn't find her anywhere on earth. My next thought was that I would die. I looked at my life and thought, "I'm afraid to die." I concluded that whether I was afraid or not, I would die. It was one of the most important crossroads in my life, once I realized that no matter what, I would do this thing, the next step was to think, "If I am going to do the most difficult and frightening thing - dying - is it possible that I could do some difficult and impossible things that are good?"
When I was in art school, I thought art was something I would learn how to do, and then I would just do it. At a certain point I realized that it wasn't going to work like that. Basically, I would have to start over every day and figure out what art was going to be.
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