A Quote by Rebecca Sugar
You can't wait for someone to give you a show. That can't be the first time you're writing and drawing a character.
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Drawing is more fun to me than writing. I think it's interesting to talk to different cartoonists about how those activities work for them. I'm a very writerly cartoonist. I certainly spend more time on the writing than I do on the drawing, even though the drawing, of course, is very time-consuming.
When I'm writing a comic book, I'm thinking about a character that I'm going to be drawing on the page. I've never drawn a character to look like who I want to cast in a movie because I don't think that way. I'm a real monomaniac. I do one thing at a time.
Maybe this happens to you every day, but I think it was the first time I could hardly wait to show something that I'd done to someone who would care besides my mother. You know how that feels?
I didn't have to wait six years to get my show on the air, worry that someone else had a similar idea, or wait around for notes that took my voice out of the show.
For me, travelling and drawing the world, experiencing as much as possible first hand, has been very important. Making notes, drawing and writing on the move, became second nature.
I tend to write first thing, and then do my drawing later. I like to draw at night. But often I go for long stretches without drawing, because I'm trying to figure out what I'm writing.
It is only by drawing often, drawing everything, drawing incessantly, that one fine day you discover to your surprise that you have rendered something in its true character.
I don't know much about writing a show or being a show-runner on a show, but I can only imagine that when you first cast a show and you first do a pilot, there are so many components that you're throwing into the mix and you're not sure how they're going to develop.
Intellectually, perspective [drawing] is a breakthrough, because here, for the first time, the physical space we live in is being depicted as ifit were an abstract, mathematical space. A less obvious innovation due to perspective is that here, for the first time, people are actually drawing pictures of infinities.
For me, the Bild-Dichtung [image-poem] is the ideal form, because the drawing process is constantly being interrupted or contrasted by the writing. And since I always have something to say when I am writing, the effort has a balancing effect. Drawing and writing are wonderful complements.
I'll go to a city, a school, and give a lecture because I can feel someone there. I inwardly see first their is someone there who is waiting. Where they'll show up or not, I don't know. That depneds upon many factors.
The first writing of the human being was drawing, not writing.
With the television thing you have this lull of time where you're not with the character. And when you get those first pages, you're like, "Who is she again? Huh? Where did we leave off?" Then you show up at the read-through and all of the sudden the voice is there, and you realize that the character is still stewing in you all that time, even in the downtime.
My drawing, like that of most cartoonists, is intended first of all to be functional: to create believable space, and communicate information. My strongest point in drawing has always been my ability to show characters' nonverbal communication through facial expression and posture.
I did the drawing and writing - for five years. I made a lot of short films the whole while and I made a promise to myself in front of the mirror that I would stop drawing when I signed my first contract for a feature film.
Believe it or not, every Marvel character is someone's favorite character. There's a fan out there who absolutely believes that their character should have their own television show.
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