A Quote by Adrian Tomine
I get nervous about the effect that the high speed of everything will have on creativity. It's already sad for me to see that a lot of young aspiring cartoonists are putting stuff on the web, doing animation on the computer rather than making zines or mini-comics, which seem to be going the way of the dinosaur.
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I've seen a tremendous shift especially in indie comics. I see all these young women who are out there creating. They're making these great web comics. Their graphic novels are getting published. They're making all this wonderful art. They're powerful. There's this vital energy about it that's really, really beautiful that years ago I knew existed but I didn't see so clearly.
I was really inspired by seeing self published zines and mini-comics: seeing someone else make work that was either really personal, or was just done entirely themselves. It really showed me what was possible for my own art, and I hope that my books will inspire readers in the same way.
I never thought I'd end up as a computer freak, but that's how the cookie crumbles. I do spend a lot of my time on the Internet, and often check out the different E-zines on the web, especially if something Iron Savior related is going down.
A good friend of mine took me out and had me hit off a tee. He made me understand what was my strike zone and - with my speed - the importance of making contact. So I give him a lot of credit for changing my game and making me the player I became. He showed me how to work on me and my game, and not worry about patterning myself after someone else and focusing on what they were capable of doing rather than what I was capable of doing.
When you're young, and you're doing stuff, you're making music, directing, making art, it's all future directed. You want to change stuff onward. And when you get older - this applies to me - you think about the things you want to do and how it will be perceived by your children one day.
Most of the people who get sent to die in wars are young men who've got a lot of energy and would probably rather, in a better world, be putting that energy into copulation rather than going over there and blowing some other young man's guts out.
I remember when I first started putting things on the web and people were writing about it. I totally didn't keep up with what was going on because I wanted to present stuff in museums and galleries and have some presence on the web. I feel fortunate to have posted stuff in the beginning.
In a way, going to Africa allowed me to see possibilities that sometimes seem impossible in certain conditions. It also allowed me to see opportunities for material strategies. I hate it when people think I went and got something [from Africa] and brought it here. It's more about how it affects the way in which I work and affects [my] creativity.
Seeing Pax get extra-nervous about which shirt he is going to wear when he meets Aung San Suu Kyi, I get very moved. He rightfully doesn't get nervous going to a movie premiere; he gets nervous going to meet her.
I'm not just offensive, I'm very smart about the way that I do it, and that takes a lot of time. People say that young comics shouldn't be trying these things. That's ridiculous. You should try everything and see what sticks.
In early comics, you see the amazing awkwardness and bizarre reasoning in the storyline, and it's because comics hadn't really been invented yet. There was no format for them to follow. They were just making it up. So I try to incorporate that kind of awkwardness in my comics quite frequently, which is odd. In some ways, I can't be as awkward as I'd like. But I do think that's one way in which my comics are unusual, because I will try to make the artwork look bad, occasionally.
I like the Internet as place to get instant gratification: posting a comic online is the quickest way to get attention for your art, but I have been talking to a lot of younger, aspiring cartoonists who very quickly get discouraged if they aren't getting a lot of attention immediately. This can also be aggravated by artists who appear to be really quickly Tumblr-famous, and get lots of notes on their work.
I intend to work until the day I die. I retired from feature-length films but not from animation. Self-indulgent animation. It's nice that I have the mini-theater in the museum. Most of the museum visitors attend the mini-theater screenings and we've never had a complaint about the quality of the films. I'd like to continue to make films that leave the audience satisfied, but I also think it's pointless unless I offer them the kind of animation they can't get anywhere else. They're fun to do. They're short so it's less stressful.
Creativity is our North Star. This way of working and this speed, this new opening and innovation, putting everything in discussion must remain at the base of what we do.
Put your energies into creativity. Forget about anger as a problem, ignore it. Channelise your energy towards more creativity. Pour yourself into something that you love. Rather than making anger your problem, let creativity be your object of meditation. Shift from anger to creativity and immediately you will see a great change arising in you. And tomorrow the same things will not feel like excuses for being angry because now energy is moving, is channelised, is being sublimated, is enjoying itself, its dance. Who cares about small things?
Motion comics are a medium all their own. It is certainly not animation, in which a large number of artists do tens and even hundreds of thousands of drawings. The animation, or 'the reality,' is created in a computer, and the work of the original artist is the work. Nor is it a comic book. You can't turn the pages. You can't read the dialogue.
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