Well you know, the comic strip [Doctor Strange]... yeah, was an Asian man, in fact, a very ancient Tibetan man living on the top of a mountain. The film script that I was given wasn't an Asian man, so I wasn't asked to play an Asian man - I was asked to play an ancient Celtic person.
I answered an ad, for a campus cartoonist at the university I was in, my freshman year. I was like, Oh, I can draw, and I'm sort of a funny guy. I should try this. Then they paid me to do a comic strip for the paper.
It seems beyond the comprehension of people that someone can be born to draw comic strips, but I think I was. My ambition from earliest memory was to produce a daily comic strip.
I hope some historian will confirm that I was the first cartoonist to use the word 'booger' in a newspaper comic strip.
Comic strips are like a public utility. They're supposed to be there 365 days a year, and you're supposed to be able to hit the mark day after day.
Comic-strip stuff isn't really my cup of tea, really.
When I was very little, four or five, I did comic strip drawings, so my first novel had no words. I couldn't write and thought adult handwriting was a mysterious scribble. When I was 14, my grandmother gave me a typewriter and I started writing in a different way.
I had been drawing my weekly comic strip, 'Life in Hell,' for about five years when I got a call from Jim Brooks, who was developing 'The Tracey Ullman Show' for the brand-new Fox network. He wanted me to come in and pitch an idea for doing little cartoons on that show.
I think in daily newspapers, the way comic strips are treated, it's as if newspaper publishers are going out of their way to kill the medium.
Sometimes people try to read into my strip and find out what my state of mind is. And I can say if I'm in a good mood, generally the comic strip starts out in a good mood, but the punchline is very negative and sour.
We've seen the uproars around the world concerning cartoons depicting the prophet Mohammad. Anyone who does not think comic strips are relevant never had a fatwa put on him/her for drawing a picture.
We like to think of industrialization as being despicable. I don't really know what to make of it. There’s something terribly brittle about it. I suppose I would still prefer to sit under a tree with a picnic basket rather than under a gas pump, but signs and comic strips are interesting as subject matter. There are certain things that are usable, forceful, and vital about commercial art. We're using those things – but we're not really advocating stupidity, international teenagerism, and terrorism.
I'm extremely surprised to learn that a story, which has become familiar to children through the medium of comic strips and many succeeding novels and adventure stories, should have had such an immediate and profound effect upon radio listeners.
Peellaert's comic strips were the literature of intelligence, imagination and romanticism.
Walt Disney’s Mickey Mouse... by Floyd Gottfredson will be warmly received by comics aficionados but should also intrigue Disney animation buffs who aren’t necessarily plugged into comic strip history... I have a feeling that this book, crafted with such obvious care, will earn Gottfredson a new legion of admirers.
I remember my comic strips being called "new wave." It bugged me.
It's really a pity that there are observers who view political events like comic strips. There has to be a Zorro, there has to be a star. No, the problem of Upper Volta is more serious than that. It was a grave mistake to have looked for a man, a star, at all costs, to the point of creating one, that is, to the point of attributing the ownership of the event to captain Sankara, who must have been the brains, etc.
You can write a little and can draw a little, but there's necessarily a limitation on both in a comic strip, since it appears in such a tiny space.
In the right hands, a comic strip attains a beauty and elegance that, really, I would put against any other art.
If you're going to draw a comic strip every day, you're going to have to draw on every experience in your life.
Along with all else, Sandman is a comic strip for intellectuals, and I say it's about time.
Comic-strip artists do not make good husbands, and God knows they do not make good comic strips.
In the dance, one finds the cinema, the comic strips, the Olympic hundred meters and swimming, and what's more, poetry, love and tenderness.
I seemed to have instinctually a strong idea of how the strip had to be written from the beginning. That changed too, but it was more in the direction of where it was headed. I didn't have a clue as to the drawing style, because the drawing style that I was groomed on from the beginning was newspaper comic strips, which were much more conventional.
[Comics is] one of the last havens for honesty when it comes to a reader's genuine response to art. Most of us, if we don't find any sympathy or pleasure, for example, in a modern painting, are likely to blame our own ignorance of the history and theory of painting. But nobody pretends to like a bad comic strip. Such harshness is necessary for any real truth to surface, I think, and for art to really contribute anything to life. Though I don't know. I could be wrong.
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