Top 1200 Comics Quotes & Sayings - Page 20

And as a stand-up comic, that's the one thing I'm a little uncomfortable with. I'm not uncomfortable with sincerity in my regular life, but, like in terms of my product that I offer, I think that it's weird, because comics used to be way more sincere in the '80s.

There are a lot of comics at the top end making staggering amounts of money and selling out stadiums. I think stand-up is a more intimate thing than that. Maybe because of the kind of comedy I do. It's like a discussion, but I'm the one with the microphone.

I've always liked writing. Even when I was in art school and thought I was going to be a gallery painter, I liked to pair my artwork with writing. And so that naturally led to drawing comics.

I prefer working out of strict continuity, because no normal human being can have a firm grip on the constantly shifting bardo-like territory of a comics universe, where entire histories can be erased by a strong enough super-sneeze.

I was a kid, and I would watch standup comics do the 'Tonight Show,' and if Johnny Carson liked you, he'd wave you over to the desk; that pretty much meant you were about to be the most successful comedian in the country for the next few years.

I draw on a lot of cinematic influences like Ingmar Bergman and Wim Wenders, artists who let a story take its time. Comics are a visual medium, and visuals should be allowed to tell some of that story.

As actors you have this trait to imitate very easily. I don't want to imitate anything or limit myself of finding this creature, this woman because I'm looking at magazines and I'm reading comics, and I'm asking people that are avid readers of The Guardians.

To me it's so much like Spaced in that way. Um, which I love so much, so I think fans of that and fans of the comics are going to really see that up on the screen.

When I was a kid, I read many more Marvel comics than I did DC. As I got older, in high school and then in college, I started reading more DC.

I started off at the high level, in the slick magazines, but they didn't use my name, they used house names. Anyway, then I went downhill to the pulps, then downhill further to the comics.

I got cast on 'MADtv' as one of eight permanent cast members chosen from 8,000 comics who'd been screened. For any comic trying to make something of themselves, that was like hitting triple 7s-jackpot.

I discovered 'The Shield' back around 2010, when the Archie superheroes were licensed to DC Comics. From there, I went back into the archives and discovered this whole universe of characters, and I was hooked.

I love telling stories. And even in single images, I tend to have stories inside them. I've always loved film, but I was making drawings and paintings and photographs. And you put art and narrative together, and that really is comics.

I just started the way most comics start, doing open mic shows around Sacramento and San Francisco, and eventually, I moved to L.A. After about four or five years in L.A., I got the call to join the 'The Daily Show.'

Music has always been a visual thing to me, so writing and drawing the 'Skin&Earth' comics, which tie cohesively with the music, was an obvious move for me as an artist.

It's very hard for a woman in comedy. It's hard for women to be bold and not care what anyone, particularly men, think. Maybe that is why so many women comics are lesbians.

I've always been aware of 'Spiderman' on the newsstands, but I never followed the comics with any great zeal, probably because I've spent most of my conscious life as an actor and just never found the time for comic books.

When comics are in the room, people have a tendency to try to make them laugh. That doesn't really make you funnier. It makes you a comic's comic, but you aren't going to get a fan base doing that.

Right now anything made for the iPad is like performance art. I'm not interested in performance art. Comics are too hard to make to be done for such a passing blip. When it stabilizes, I'll look at it.

I've learned a heck of a lot this way [making Dark Tower comics]. I've also learned a lot from the editors at Marvel, who are always an equal part in the creative team.

It always amazes me that Japanese comics have, like, 200 pages. How do they do that? They're fat books; it's a whole different kind of comic that's very close to their films. So I'm drawing from that history and bringing it here - bringing it to Katana.

I found one remaining box of comics which I had saved. When I opened it up and that smell came pouring out, that old paper smell, I was struck by a rush of memories, a sense of my childhood self that seemed to be contained in there.

The trickiest thing is that a lot of times in 'Venom' comics, they'll reveal part of Eddie, and he'll be like a Venom body with an Eddie head, or he'll do that classic split frame face.

New York is a brutally expensive place to live, and the kind of person who might have the dedication and esoteric taste to make the comics that I would really love is finding it more relaxing to live elsewhere.

I quite like being a 'comedy elder statesman.' I am a big fan, I go to watch loads of new comics, and I like the fact that they don't go, 'Why are you here?'

I think that Spider-Man is a part of our culture. He's a perennial character. He's something that's constantly reexamined and there are so many versions of him in the comics that it was something that I thought that we could do cinematically. He belongs on the big screen.

I always wanted to be a writer, but Alan Moore's work and help inspired me to write comics. In some ways the biggest influence on me writing was Punk. There was the idea that you could do something by simply doing it.

I kind of understood inherently - and I wasn't really conflicted about this - that comics were not for me or by people who looked like me. That was just something that I accepted about the world.

When we usually think of fears, in comics or in films, it's most often fears on a relatively superficial level: fear of murderous insects, of ghosts, of zombies, or even fear of dying.

The fun of superhero comics is finding ways to turn the pieces that you know so that they're suddenly about things that you want them to be about, as long as they're true to the core and true to the DNA of the mythology.

There were never that many women stand-up comics in the past because the power to make people laugh is also a power that gets people upset.

There's a ton of stuff in mythology and folklore that is loaded with wonderful creatures that I haven't drawn yet, but that's kind of my retirement plan. Theoretically, I won't be doing comics any longer, and I'll just be drawing and painting whatever the hell I want. Most of that will be monsters.

Back when Jerry Seinfeld was just another comedian hanging around the clubs, I'd imitate him to amuse myself and the other comics. The club owners would say, 'What are you doing that for? Nobody knows him.'

I remember hearing the name... 'Teenage Mutant Ninja Turtles - what the hell is that?' But I was hit by the bug as well. I used to watch the cartoon every morning before I went to school, played the video game at the arcades, and was a big fan of the comics.

As a small kid, I came across things like these early Edward Gorey books in department-store bookstores. These were these really unusual objects to me. I didn't know how they fit into the comic world or into newspaper comics.

In earlier comics, my only priority was telling a joke in the last panel, but now I try to make every panel as interesting as possible, and that normally means at least a li'l joke there.

I`ve not really been angling to be a comedian. I knew comics and I loved them and I loved being funny, but I didn't understand the whole concept of becoming one. My first couple of times on stage, I was like, "This is what I'm doing for sure." I was so excited.

To me, Clark Kent in a phone booth and Houdini in a packing crate, they were one and the same thing," he would learnedly expound at WonderCon or Angoulême or to the editor of The Comics Journal . "You weren't the same person when you came out as when you went in.

I've collected comics for many, many years, but I've usually collected older ones for whatever reason.

I personally have no need to make a strict definition of the medium. I am more interested in what can be done with comics than how it can be described, and if I want to remain truly open to the creative possibilities, the less I define the medium, the better.

This is not the story of Elektra from the comics. We're telling the story of 'Daredevil.' In this aspect, the storylines accentuate the sociopathic tendencies in her. The writers wanted to highlight that Elektra is quite manipulative and doesn't seem to have a conscience.

I was embarrassingly well-versed in Marvel lore, so it was pretty easy to slip into that world. But really, already, by the time I'd started writing superhero comics, my dream was really to be writing my own characters.

I always had more allergies toward the superhero comics than the others. I thought those were aimed more toward the people who would beat me up.

I think I related more literally to the early 'Spider-Man' comics from Steve Ditko because it could be upfront and direct about the problems of being a kid. He captured being a teenager so beautifully.

I love meeting fans. The people who are fans of my books are really smart and dedicated, because some independent comics are hard to get. I will drive all the way to Pittsburgh or Detroit to put it in their hands.

Everyone at ComiXology has been very supportive and enthusiastic about getting 'Youngblood' as well as the rest of the Awesome/Extreme catalogue online. Hopes are high that this relationship leads to more online comics.

I've always loved comic books. As a kid, I used to read cowboy stories and historical comics about other worlds, unknown places that would take me out of myself and which helped to develop my imagination.

Some comics are in it for what they can get out of it. Others are in it for a love of comedy. I think those that are in it for a genuine love of comedy find each other within the circuit and become friends.

The most unrealistic thing I've ever read in comics is when some group of characters calls themselves the Brotherhood of Evil or the Masters of Evil. I don't believe any character believes their goals to be truly evil.

There are certainly other female comics who are moms, but I don't know any who are actively touring with their kids. But there are more and more becoming moms, and it's awesome. I feel we're in a super sisterhood.

It took Marvel Comics years to begin to put together any worthwhile superheroines. The first crop was, to a gal, embarrassingly disappointing. They had all the measly powers that fifties and sixties male chauvinism could contrive to bestow on a superwoman.

We got to go to Lucas Ranch and, at that time, my brother was still living in a condo about a mile from Robin Williams, and so I made all of the other comics jealous because I got to get a ride home with him.

It's always interesting to see what the real enthusiasts think, but they're rarely representative of the tastes of the wider audience, so I tend to write for myself, for an imagined smart 14-year-old, and for a couple of friends who are still big comics fans.

One of the best things about my job is that I get to meet a lot of great children's and YA authors at events all over the country. So I figured it might be fun to interview some of them and turn the interviews into short online comics.

When I was a teenager, I felt my life was constrained by rules, school, my parents. I wanted to feel like I was empowered and different; that's why superheroes, comics, manga, and video games filled my needs. When I got older, I realized power is not free; it comes with responsibility.

I wanted wherever possible to lean into the comic form and do things in the story telling that could only be done in comics and which pay homage to the many strands of comic and visual storytelling tradition.

Bad taste is not illegal. I always got my first laughs as a kid by saying inappropriate things. That's always how we're going to get our laughs as comics.

The only real reason that I'd have for working for Hollywood is the fantastic amounts of money involved, and that isn't enough of an incentive to really give up the degree of control that I have over my work at the moment with comics. I suppose that's probably why I don't have any designs on being a screenwriter.

When I was growing up in comedy, there were maybe 10 comics in the whole country. Everyone had a day job. You worked free for years in little clubs, then you got your big break and became a star.

I knew I wanted to do comics, but I wasn't sure what they were about or what I wanted them to be about.