A Quote by Paul Dini

I take inspirations from newspaper strip cartoonists who look for ways of expanding their characters' worlds once they have established the initial concept of their strips.
Such is the nature of comic strips. Once established, their half-life is usually more than nuclear waste. Typically, the end result is lazy, rich cartoonists.
I think in daily newspapers, the way comic strips are treated, it's as if newspaper publishers are going out of their way to kill the medium. They're printing the comics so small that most strips are just talking heads, and if you look back at the glory days of comic strips, you can see that they were showcases for some of the best pop art ever to come out.
The syndicates take the strip and sell it to newspapers and split the income with the cartoonists. Syndicates are essentially agents. Now, can you imagine a novelist giving his literary agent the ownership of his characters and all reprint, television, and movie rights before the agent takes the manuscript to a publisher? Obviously, an author would have to be a raving lunatic to agree to such a deal, but virtually every cartoonist does exactly that when a syndicate demands ownership before agreeing to sell the strip to newspapers.
Initial work is on period research where the historical markers are absolutely non-negotiable. Once that is established, a writer can take creative liberties in terms of chronology to suit the story.
I seemed to have instinctually a strong idea of how the strip had to be written from the beginning. That changed too, but it was more in the direction of where it was headed. I didn't have a clue as to the drawing style, because the drawing style that I was groomed on from the beginning was newspaper comic strips, which were much more conventional.
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.
Too often cartoonists just look at other cartoonists and, after a lot of inbreeding, everyone has the same funny look. The challenge of drawing is that there is no one right way to visually describe something. It's a good thing to confront your limitations and preconceptions every so often.
God established patriarchy when he established the world. God established a patriarchal world. If we're going to have true reformation in America, it is because men once again, if I may use a worn out expression, have righteous testosterone flowing through their veins. They are not afraid of the contempt of their contemporaries. They are not here to get along. They are not even here to take issue. They are here to take over!
Mothers send strips to daughters to make a point. Daughters smack strips down on the breakfast table to make a point. My own mom sometimes cuts a strip out and sends it to me to make sure I understand her.
Africa, help me to go home, carry me like an aged child in your arms. Undress me and wash me. Strip me of all of these garments, strip me as a man strips off dreams when the dawn comes. . . .
As a writer, it's fun to create. And once you get into a long-running show with very established characters and a very established tone and format, after a while it's a really great job, but that's what it is - a job.
I'd like to see cartoonists measuring their work by higher standards than how many papers their strips are in and how much money they make.
When I am working a book, I go through my library and take a look through some of the great cartoonists of the past, like Cliff Sterrett, who did "Polly and Her Pals," or Winsor McCay who did "A Little Nemo in Slumberland," and Herriman - and I just looked through these guys and looked for somebody to steal. You know, looked for who I could swipe, or turn into - who's work I will turn into my work. And I still use, after all these years, these artists as inspirations. So, here in my eighties, I go back to when I was eight for my inspiration.
I could draw Bloom County with my nose and pay my cleaning lady to write it, and I'd bet I wouldn't lose 10% of my papers over the next twenty years. Such is the nature of comic-strips. Once established, their half-life is usually more than nuclear waste.
When you're directing an ongoing series, the tone has already been set. So a director will come in and fulfill that tone - reinforce the characters and their behavior. The challenge is to find unique ways that you can visually tell the story while keeping the established tone and the pace and the characters.
I rest not from my great task! | To open the Eternal Worlds, | to open the immortal Eyes of Man | Inwards into the Worlds of Thought; | Into eternity, ever expanding | In the Bosom of God, | The Human Imagination
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