A Quote by Garry Shandling

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. — © Garry Shandling
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.
'Blade Runner' was a comic strip. It was a comic strip! It was a very dark comic strip. Comic metaphorically.
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.
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.
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.
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 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.
I looked at Tank Girl, which is the coolest comic, ever. The movie didn't make the comic book any less cool. The comic is still the comic.
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.
I see no intrinsic reason why a doubly talented artist might not arise and create a comic-strip novel masterpiece.
Stan Lee always wanted to do another syndicated strip while we were doing Spider-Man. I was working two jobs, and he wanted to make time to do another strip. He wanted to do a humor strip. I said, 'Stan, I barely make it through the week now. How the hell am I going to do another strip?' He said, 'Oh, I'm sorry, I always forget it takes you longer to do a page than it takes me to do twenty pages.'
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.
Comic-strip artists do not make good husbands, and God knows they do not make good comic strips.
In the right hands, a comic strip attains a beauty and elegance that, really, I would put against any other art.
When I was very little, four or five, I did comic strip drawings, so my first novel had no words. I couldn't write and thought adult handwriting was a mysterious scribble. When I was 14, my grandmother gave me a typewriter and I started writing in a different way.
We're having the first computer-generated comic strip in the United States.
To live in society today is like living in one enormous comic-strip.
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