A Quote by Chris Gethard
I think comics do need permission to fail. I think comics do need permission to go up and try stuff.
Related Quotes
I can't believe people think they need permission to drive. Or permission to do anything.
When I speak of diversity, I don't mean replacement of white comics. I don't mean acceptance by white comics. We comics who weren't born into the white guy paradigm of 'funny' don't need a handout. We don't need a PC push. We don't need 'a look.'
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 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.
It's all right, Tessa, you can go. We love you. You can go now.' 'Why are you saying that?' 'She might need permission to die, Cal.' 'I don't want her to. She doesn't have my permission.
If, before undertaking some action, you must obtain the permission of society-you are not free, whether such permission is granted to you or not. Only a slave acts on permission. A permission is not a right.
The world needs women who stop asking for permission from the principal. Permission to live their lives as they deeply know they often should. I think we still look to authority figures for validation, recognition, permission.
What is it that you're not doing - in your work, in your life - because you feel you need permission? If someone had given you that permission as a youngster, what do you think you'd be doing now?
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 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.
I think parents need to make sure they have parental controls and not have their credit card linked up to in-app purchases so their kids can just spend whenever they want to. They need to ask permission.
People think I have an interest in comics, but I'm only interested in comics from the '40s, like 'Donald Duck' comics.
We all need permission to do science, but for reasons that are deeply ingrained in history, this permission is more often given to men than to women.
That's why when I talk to younger comics, and they say, 'Well I need this and this, and I need so and so,' I tell them they don't need nothing. All you need is some great idea and go shoot it.
I just try to make comics for myself, try to give it some kind of unity throughout. That often involves tiny details. I'm never sure what's going to be obvious or what nobody will ever notice. I put stuff in my comics that I thought was blatantly obvious, and nobody noticed. And things that I think are buried in the background, everybody gets it. So I try to be consistently aware of every part of the frame.
Why does the need to explain comics still exist? Because that prejudice still exists. It's fading, but it's still very strong. It's important to keep pushing the boundaries of what people know comics to be so that they are receptive to the whole world of comics, not just one or two genres of work.
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