A Quote by Paul Giamatti

I did a movie called 'American Splendor', based on the comic book writer Harvey Pekar. — © Paul Giamatti
I did a movie called 'American Splendor', based on the comic book writer Harvey Pekar.
'RoboCop,' when that came out, was like the best comic book movie ever, and it's not based on a comic book.
To me, my favorite comic book movies were the ones that were never based on comic books, like Unforgiven. That's more the kind of thing that get us inspired. Usually when you say something's a comic book movie, it means you turn on the purple and green lights. Suddenly that means it's more like a comic book, and It's not really like that.
I feel when a writer treats a character as 'precious,' the writer runs the risk of turning them into a comic book character. There's nothing wrong with comic book characters in comic books, but I don't write comic books.
The beauty of the world of Unbreakable is that you're playing it for reality. It should never feel like a comic book movie. It feels like a straight-up drama. It's real. You're confronting the possibility that comic book characters were based on people that were real.
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.
Maybe every other American movie shouldn't be based on a comic book. Other countries will think Americans live in an infantile fantasy land where reality is whatever we say it is and every problem can be solved with violence.
"Comic book" has come to mean a specific genre, not a story form, in people's minds. So someone will call Die Hard "a comic-book movie," when it has nothing to do with comic books. I'd rather have comics be the vehicle by which stories are told.
'Comic book' has come to mean a specific genre, not a story form, in people's minds. So someone will call 'Die Hard' a 'comic-book movie,' when it has nothing to do with comic books. I'd rather have comics be the vehicle by which stories are told.
There's a book called 'Where The Wild Things Are,' by American writer Maurice Sendak... it really is the most sublime book. It's a picture book, but it works at so many levels, and it's fantastic.
Any time anyone makes a comic book into a movie, in some way, I think they have to kill the comic book.
You either ignore the comic book and make a great movie or you stay very close to the comic book.
I have done scenes as Harvey Two-Face. It's interesting. I won't tell you exactly what we're going for, but I think that I can say that it will use all of today's technology to create this character. He's going to be interesting, and I think that's what makes this character important in the movie-you get to see him as he was before, as in the comic books. Harvey is a very good guy in the comic books. He's judicious. He cares. He's passionate about what he loves and then he turns into this character. So you will see that in this film.
There's an indie movie I did called 'Fat Kid Rules the World,' which was based on a teen book, and it's a fabulous story, and hopefully it'll go to theaters because it is an amazing story.
'Diary of a Teenage Girl' was my first American movie. It was my first movie in an American accent. It's based on a graphic novel, which was written in 2002 by someone called Phoebe Gloeckner. It was turned into a play by Marielle Heller, who then wrote it as a screenplay for Sundance Labs.
I don't do a comic book thinking there is a movie. I just want it to be as good a comic book as it can be.
The comic book industry has turned into the wellspring for all of these movies that are all based on the comic books.
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