A Quote by Scott M. Gimple

I actually come from comics, and I'm big on comics. I was reading 'Walking Dead' from the beginning. Then just being on the show, I was really lucky to work on episodes like 'Pretty Much Dead Already' and 'Clear.' I worked a lot on episodes that I didn't write.
I don't really read any comics, but when I got casted on the show, I starting reading 'The Walking Dead' comics. I felt like I needed a better idea of the character.
I've always had a show that went seven episodes or 13 episodes or whatever. And I've never had a show that's gone past a first season. It really is a lot of work.
You never know when you're on a show if you're actually going to love it. For the episodes that I'm not in, I read them, but I try to just forget it, as long as it isn't important to my character. That way when the episodes air I get to watch it like a fan and actually enjoy it.
Since I started as a comic person then became a musician to me it was interesting because I have this really great, interesting fanbase that's really smart and energetic and uh how could I steer them towards a medium that shaped who I was? You know, steer them toward comics. That was really the goal, to bring a lot of readers cuz they were reading a lot of comics but most of them hadn't been reading American comics, they'd be reading manga sitting on the floor of a Barnes and Noble.
Man, I don't read books! I just read a bunch of 'Walking Dead' comics. I don't even read comics, but zombies are something I just can't get enough of.
Just the fact that there's motion and sound, took me a long time on Walking Dead to get used to the fact that in television, characters don't have to say things. In comics, people have to say I feel this way, or I want to do this, and you can do so much with gesture and movement and facial expressions that you can do sometimes facial expression stuff in comics, but you can do so more if somebody can move around without actually speaking. That leads to a different style of writing between the two mediums.
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 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 did two episodes of 'The Walking Dead,' and it was enough to have time to get in there and really get the meat of it, but also then move on and take that experience and bring it into the next one. It was a great stepping stone.
To journalists my move from comics to films to best-selling novels was resembling those little evolutionary maps too much, where you see the fish, and then it can walk, and then it's an ape and then it gets up on its hind legs and finally it is a man. I didn't like that. I didn't like the fact that there was something rather amphibious about me - at least in their heads - back when I was writing comics. So I like continuing to write comics, if only because it points out that I haven't just started to walk upright or left the water.
In animation, you may be working with 20 writers, and everybody has to write the same thing. You can't have episodes that don't feel like they belong. In comics, you're gonna write a whole run, which means it's your style that's coming through. But when you're working on a show that's collaborated with a dozen other writers, you have to have a style that blends the show together. So you can't write it the way you normally would, because your script will stand out from all the others.
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.
The magic of comics is that there are three people involved in any comic: There is whoever is writing it, and whoever is drawing it, and then there's whoever is reading it, because the really important things in comics are occurring in the panel gutters, they're occurring between panels as the person reading the comics is moving you through, is creating a film in their heads.
I like collecting comics, I like buying comics, I like looking at comics, but I also read comics on digital readers, so any way people read comics is fine with me. Digital is just helping people who might not necessarily have access to comics help them; that's great.
Trust me, the being-dead part is much easier than the dying part. If you can watch much television, then being dead will be a cinch. Actually, watching television and surfing the Internet are really excellent practice for being dead.
I haven't watched a lot of episodes of 'The Good Wife.' I never even saw the show until I signed on, and then I watched seven episodes.
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