My work looks like a comic book in form, but it's not a typical comic book in content. I write autobiographical stuff.
That became a big time in comic books because it's when people were starting to break out into independent stuff, the market was getting choked with speculators and everybody was trying to do their own trick covers.
When my brother and me got into performing in the late '40s and early '50s, it was a sensational opportunity to learn from our elders. Every show we played had a dancer, a comic, a juggler, a singer, an acrobat. I came to appreciate virtuosity in all forms of the business.
I met Harrison Ford at Barney's Beanery. And I met Steve Martin at the bar at the Troubador. He said he wanted to be a stand-up comic. I thought that was the worst idea because he was so square, so Orange County.
I hope I won't become hated by geeks everywhere, but I don't really know comic books all that well.
Jim Carrey, a comic genius, has a harder time overcoming the public's desire for him to be funny simply because he's so good at it.
I grew up reading '2000 AD' and the occasional Transformers and GI Joe comic, but when I could finance comics myself, I lasted only a little reading superheroes.
I used to watch 'Last Comic Standing' with my mom before she passed. So when I got that red envelope, I was extremely emotional.
One of the things I've always loved about genre, comic books, science fiction and fantasy is that there's a certain level of playfulness to them, and pure imagination and creativity.
Wouldn't want to write the X-Men, and I suppose the X-Men is the ultimate Marvel comic, and I really wouldn't want to go anywhere near it at all, although on the other had I wouldn't mind having a crack at something like the Punisher.
Bill Watterson argued with his medium even as he eclipsed it. He was all too aware that no artistic expression better exemplifies our disposable consumer culture than the daily newspaper comic strip: today's masterpiece is tomorrow's birdcage lining.
I always loved Batman, the Michael Keaton 'Batman.' I loved those films, and Superman, but I was never a real comic book geek.
I love comic books. I just do.
It was 1978 when Superman came out, and I kept thinking, Why don't they do something about it? They've done all these crappy attempts at comic book film adaptations. What can we do different? Why don't we just re-release this thing?
I just try to keep myself a traditionalist. I liked being an underground comic doing my thing. I want to maintain that. I just do.
I think if you do something effectively whether you're the lover or the comic or the action guy or the villain like I play; movies are very expensive to make. Chances are you'll get asked to play that part again.
Comic book readers tend to be pretty secular and anti-authoritarian; nothing is above satire in their eyes.
I think that there's got to be a comic gene in some way, but it's so much about it is how you grow up.
Whether I'm doing music or I'm walking down the street or I'm in a record store buying a record or I walk into a comic store and I'm buying comics or having a drink with my friends, it's the same me.
I've probably had my day in the sun. I think I've influenced a lot of comic book writers.
I get mad when people call me an action movie star. Indiana Jones is an adventure film, a comic book, a fantasy.
I thought Sarah Palin was the ultimate expression of comic outrageousness in a person.
So the Comic Book Legal Defense Fund is out there preserving and fighting for, and sometimes winning and sometimes losing, the fight for First Amendment rights in comics and, more generally, for freedom of speech.
People love their comic books.
Writing a comic book series, you're so reliant on whoever the artist is. It truly is collaboration.
It's embarrassing to be involved in the same business as the mainstream comic thing. It's still very embarrassing to tell other adults that I draw comic books - their instant, preconceived notions of what that means.
Cheating on a quiz show? That's sort of like plagiarizing a comic strip.
As lifelong fans of comic books, Dan Didio and myself, we definitely have our own takes on what make for successful comics and the kind of comics that we want to publish.
Encourage your kids to be creative. When you see them tracing a character from TV or a comic, say something like, 'That's nice. Now how about you create a character yourself?' Keep kids curious and excited about creating.
I came to one of the first Comic Cons in 1985, when it was just people trading back issues of comic books.
I will say that comic books are not the easiest things to translate to film, number one. Even the most well meaning of filmmakers find what's acceptable on the printed page is very difficult to bring to film.
But I couldn't draw as fast as she requested. Thus, I tried to create the worst abomination of a comic that I could, so as to make her not want comics anymore. That abomination, my friends, was Happy Noodle Boy.
Any comic is a tragic soul. Comedy is one of the things that allows one to survive. Particularly if one has been in the process of separating off the emotions, it's one place you can process them.
The joy of doing 'Sandman' was doing a comic and telling people, 'No, it has an end,' at a time when nobody thought you could actually get to the end and stop doing a comic that people were still buying just because you'd finished.
My ambition was to stop waiting tables. That was how I measured success: finally, I was able to stop waiting tables, and I was able to pay the rent, and that was by being a stand-up comic. Not a very good stand-up comic, but good enough to make a living.
Years have passed since I have set foot in a comedy club. If the comic is doing badly it's painful, and if the comic is doing brilliantly, it's extremely painful.