They [comic books] are not a genre, they are not something to get hot and cold from one year to the next, they're the exact same thing as books and plays: they are a source of great stories and colorful characters.
Comic books, if you're adapting a comic book - like X-Men, for example - you've got 40 years of amazing stories to dig into, things that incredible artists have been thinking about for decades.
I was just a guy who did adult or alternative comic books. And then suddenly to be, like, a New Yorker cover artist was a different thing.
Maybe I'd be a storyboard artist. Graphic novel/comic book artist. Backup dancer. Singer. It would be cool to focus on one of these full time. But I like seeing them all intertwine.
I've always wanted to write comic books, my earliest memories are of waiting for Dad to come home from work, and, secreted in his lawyer's leather briefcase, would be comics from the store.
I wasn't a comic book geek as a kid. I read some, but it was just like, "Oh, I have this comic book here." It wasn't like I was collecting them.
Oddly, I think if you look at comic books, you look at the shelves in the store, it's predominantly male characters, historically. But if you look outside the window it's 52-percent female, and something odd is going on there. So I do think it's your responsibility as a writer, really, to create stuff that little girls can get into too. I want my daughters to have role models that are female.
I just trust the people involved. Marvel and DC for the last 16 years - is that 90 percent of the time it's incredible top talent. Like, this is what makes it different from the pre-2000 superhero movies. I would say, except Tim Burton and Richard Donner, it was generally, comic book movies were done by guys who weren't that into the material and people who didn't really respect the stuff. But as everything, whether it's Wolverine, X-Men, Avengers, Batman, all these things, it's just been done by top-tier people. I have total confidence that they'll continue that tradition of being great.
I do think that hip-hop has a relationship with comic book culture, and Kung Fu movies too, for that matter.
The latest spin on the Marvel comic-book hero delivers the popcorn goods.
I love comic books - maybe to a fault sometimes.
This is the contradiction we have in the media. We love vigilantes: Batman, Tarzan, Green Arrow - the comic books and the TV shows are filled with vigilantes. We love to promote it. Jesus Christ was a vigilante. We admire these people, but we don't want to be associated with them.
I heard of Martin Luther King Jr. when I was 15 years old. I heard of Rosa Parks. And I met Dr. King in 1958 at the age of 18. I met Rosa Parks ... But to pick up a fun comic book - some people used to call them "funny books" - to pick this little book up, it sold for 10 cents, 12 pages or 14 pages? 14 pages I digested. And it inspired me. And I said to myself, "If the people of Montgomery can do this, maybe I can do something. Maybe I can make a contribution."
"March" was inspired by "Martin Luther King and the Montgomery Story." I actually first heard about that comic from John Lewis, who told me that it played an important role in the movement. And so once he told me about that, it made me start thinking, "Well, why doesn't John Lewis write his own comic book?".
I went on to write my graduate thesis on the ["Montgomery Story"] comic book itself. It was the first long-form history that was ever written about it. And it's how I found out Martin Luther King actually helped edit "Martin Luther King and the Montgomery Story."
I am a huge comic book fan, and I love everything vintage: cars, movies, music, art, and style - especially the 1950s style.
When I was a kid, I used to be way more nerdy about comic books and comic book characters. I still love them, but I don't collect anymore.
I read graphic novels, here and there, but I'm not a comic book guy, as much.
You can write songs about your comic books and the girl or boy you sort of know and your mom and dad and it's all right there in front of you.
I don't think it's necessarily 100-percent true. But comic books have infiltrated the mainstream Hollywood in ways that I don't think I ever would have seen or thought imaginable a while ago. But it's also cyclical. You saw it in the '80s when it became kind of huge again. And then it disappears for a while, then it comes back again, then it disappears for a while. So yeah, there's something about that.
The R.I.P.D. picture is like a graphic novel, I guess. I don't know if it's like a typical kind of comic book. But there is great source material for those kinds of films.
Graphic novels and comic books offer an easy foothold into that world, and screenwriters and studio execs gravitate toward those, because I think they can see it all right there. It's like, "Here's what the movie looks like."
People should really horde their Blu-rays like old comic books and baseball cards. Because they're really beautiful, and will be worth something if you like movies as I do.
When I was a kid, I remember the first Batman, the first Superman comic books when they came out, thinking how great that was and wouldn't it be great to see a movie like that. They did some cheap serials, but they're not the same as today. But I think younger audiences would like to see a real hero also.
That's the type of thing you need to keep in mind when drawing comics. The storytelling. Consider the action and the space available to you, that's what will make it a great comics page. Once you've figured that out, you can always find/make the reference to support your storytelling decisions. So by all means, study film, but as with any reference, the results are better when they inform the craft and not dictate it.
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