To me, the technique was almost irrelevant; it was what was coming across.
Like Godfather, you look at a movie like that, or something that James Gray has directed, a film with minimal or pin lighting as opposed to everything being lit bright and flat, where everything is evident
Nothing is really media driven or committee driven, so you can actually just produce something
Comics are really my life blood in a lot of respects
For a while I felt very alone; sort of out there in the world of comics, especially here in the States
And that, to me, is the main attraction to comics. It's an avenue to say what you want to say
So I look at a lot of stuff now that I did and some of it looks tame to me, but my interest in terms of what I want to say with it is a little different
I wanted to learn how to paint rather than just doing black-and-white work
I still love a lot of the guys who just paint
I was lucky enough to be given books that weren't top sellers; books that were kind of under the radar
If somebody can inspire me, it feels really special
To me, that's one of the things that I love about doing this stuff. One day I can work on this piece in watercolor, and then work on something else on the computer, or work on something else that's a completely different approach
I didn't want to feel constrained, so I took on the Mutants
Kyle Baker's work is really funny, but it's also got a very clear vision
So cartooning, for me, is an honorable thing. It's pushing the envelope. It's the truth of something through exaggeration
But I'm aware of the fact that I'm working in a commercial venue where I'm producing something that I wouldn't normally be approaching the way I'm doing it
So there's kind of a simultaneous aspect to pushing the boundaries, and being very safe
And within the world that you've created, the physics of that world have to remain constant; they can't be amorphous and changing.
There is a whole generation of people who are going to see movies or watch TV who don't want to work.
Especially with Elektra, because I'm doing a lot of the covers for the new version of Elektra.
I want to say 90% of stuff out there is just crap that got made. The main point is that it got produced.
So much of Jaws was amazing because the mind filled in what was missing.
One of the problems I have with a lot of movies these days is that everything is too well lit. In the world of digital creations there is a tendency to show too much
But with comics you're reading and assimilating an image simultaneously, instead of just reading or watching the tube
It's interesting, because in the corporate stuff there's a dichotomy there, depending on the creator. Even what, in essence, may be a very safe corporate approach, there is some stuff that is allowed to be pushed
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