A Quote by Dionne Warwick
The problem with fame is you no longer belong to you. You lose your persona and become the object of other people's obsession. I feel watched 90% of the time, but that is something I drew with the cards that I drew.
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The problem with fame is you no longer belong to you. You lose your persona and become the object of other people's obsession.
I always drew. I don't remember a time when I didn't draw. And I actually drew comics from the age of maybe ten through twelve.
From the time I was three or four years old, I drew all the time. Drew all the time, every second.
When I was little in Spokane, Washington I drew all the time... and my father would bring paper home... and I mostly drew browning automatic water-cooled sub-machine guns... that was my favorite.
Going back to Georgiana Drew and John Drew, and my great-grandfather Maurice Barrymore, and it was such a sort of circus of odd, interesting people that loved acting.
I went to an art high school in Washington D.C., and I majored in visual art. When I started there, I was horrible - couldn't draw, couldn't sketch, couldn't do anything. I remember at one point I came to terms with the fact that I had to work my ass off to do well and that's exactly what I did. I drew and drew and drew, and it worked - I ended up getting the award for best artist and went on to apply to design school because I loved it so much. I think it really speaks to the idea that you can in fact excel at whatever you put your mind and your heart to.
I was partnered with the singer Drew Lachey of the popular group 98 Degrees. Drew and I complemented each other with our strengths. I was good at dancing and teaching dance, and he was a good student and a natural-born ham for the cameras.
I drew influence from Mike Leigh, Ruben Ostlund, a lot of Scandinavian filmmakers, Lukas Moodysson. I also drew influence from horror films and thrillers, which is something I would never think to do earlier in my career.
Drew is a player that comes along once every 20 years. Not even Barry Bonds can be compared to J.D. Drew.
I drew as a child, they tell me. I can vaguely remember doing it. And then I drew again in the late years at high school.
The first time I drew a Superman story was 'For Tomorrow' with Brian Azzarello in 2004. It didn't really hit me how important it was until I drew a scene early-on in the book that featured Superman crossing paths with a giant, intergalactic space armada.
Lacy had warned me about Drew the first day of school. Apparently the two of them had gone to some summer camp together––blah, blah, I didn't really listen to teh details––and Drew had been just as much a tyrant there. ~Sadie Kane, about Lacy and Drew of Aphrodite cabin.
Drew Brees is going to be in the Hall of Fame.
The "problem" is that Comic-Con is so damned successful. People who are there seem to have a wonderful time. The very size of it makes it exciting. Wherever you look, there's something exciting. The attendees are always looking around for a familiar face. It's either 'There's a movie star!' Or, 'There's a TV star!' Or, 'There's the guy who drew the Green Lantern!' It means so much to the fans. It makes them feel like they're where it's happening. It's like Woodstock.
The principle factor in my success has been an absolute desire to draw constantly. I never decided to be an artist. Simply, I couldn't stop myself from drawing. I drew for my own pleasure. I never wanted to know whether or not someone liked my drawings. I have never kept one of my drawings. I drew on walls, the school blackboard, odd bits of paper, the walls of barns. Today I'm still as fond of drawings as when I was a kid - and that was a long time ago - but, surprising as it may seem, I never thought about the money I would receive for my drawings. I simply drew them.
I drew these natural sponges for a while and gave them googly eyes, and it didn't come together until I drew a sink sponge one day. I thought, 'This is the guy.' He's the square peg, literally, in this world of animals.
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