A Quote by Ryan North
No offense to real jobs, but comics seemed a lot more fun.
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I think comics in New York are interested in being comics. And there're comics in L.A. who are touring comics, who are certainly more interested in stand-up, but a lot of L.A. stand-ups are really looking to do something else.
I had a lot of ideas on how comics worked and pretty early on I had this idea that it would be fun to explain them in comics form.
There are a lot of Chinese comics, but the Chinese comics tend to be more historical and conservative. Japanese culture, just the comics are amazing. They're like films: very few words; they move so much in these books with hundreds of pages.
There are a lot of good comics, no doubt, but as far as the quality of the comics goes, I think what you have is a bunch of situational comics - there are black comics that work only black crowds, gay comics that do only gay crowds, and southern comics that only work down South, and so on with Asian, Latino, Indian, midgets, etc. The previous generation's comics were better because they had to make everybody laugh.
I do enjoy them. I get to meet the next generation of comics and help them out. Big comics doing small shows was something that used to happen a lot more back in the day. I wish there was more of that.
In broadcasting, there's a lot of longevity offered to people like Griff Rhys Jones and Stephen Fry, who are polymaths more than comics. We're comics first and foremost.
So I got a chance to meet a whole bunch of those old real, real rough but gentle men. They lived hard, but they lived good - in one sense, you know. But you had a lot of fun. Didn't make much money, but you had a lot of fun.
As coaches we talk about two things: offense and defense. There is a third phase we neglect, which is more important. It's conversion from offense to defense and defense to offense.
I don't think comics use iconic forms - or they don't have to. But that makes them even more "cool," if I understand the idea. One has to be quite involved to make comics work. Signals have to be decoded on both the verbal and visual level, simultaneously, and the reader must do a lot of cognitive work between panels as well. Comics definitely need an engaged reader.
When I was a kid, back in the '40s, I was a voracious comic book reader. And at that time, there was a lot of patriotism in the comics. They were called things like 'All-American Comics' or 'Star-Spangled Comics' or things like that. I decided to do a logo that was a parody of those comics, with 'American' as the first word.
We used to have a lot of fun. We got cheated out of a lot of money, but we seemed to enjoy ourselves anyway.
I live making comics. Comics is an industrial art but less suffering, because comics are for young people who are more adventurous. I do that. I live off comics, and then I write books, but when you want movies, you cannot make movies without money.
You do form a cadre of people that you trust and who are good at their jobs and who know you and what your quirks and foibles are. It makes making movies very collegial and a lot more fun.
For 'Luke Cage,' of course, I was familiar with Power Man and Iron Fist. I read the comics. That was really more stuff that you read for fun. It wasn't that you read either of those comics for profound moments, although they have profound moments.
I read comics and stuff. I buy a lot of comics, a lot of films and boxsets.
Going to New York to do whatever - show business - it just seemed fun. It seemed fun to go to the big city and meet all kinds of different people and maybe be famous. It was just exciting. So I wasn't scared
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