I was lucky enough to be given books that weren't top sellers; books that were kind of under the radar
I still love a lot of the guys who just paint
If somebody can inspire me, it feels really special
But if I really want to produce my own work and tell stories, then I will
But there's still an avenue for smaller comics and personal expression
But with comics you're reading and assimilating an image simultaneously, instead of just reading or watching the tube
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
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
After that I jumped, especially being in art school, to the illustrators.
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.
Cartooning is an honorable thing
I wanted to be complete, because I figured that, visually, there was an avenue to explore with painted stuff
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
People who can pull you in and take you on a journey, as opposed to simply adding flash. Again, that feels very clinical, and I don't respond to that the way I used to
If you're going to establish a certain level of unreality than you have to deal with it
Do the story in the way it really demands to be done, which may mean using several different styles or only one style; but it's still about respecting the story
And I've never viewed comics as assignments for the client
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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