People have these ideas about comic books and their adaptations as flashy and sort of surface-y, broad-strokes-type projects, but they're not, really.
But I read comic books. I read things like Richie Rich and Little Lulu.
I'd love to see a good script of one of my books, in these years of animations and comic book sequels, and had so many written over the years, but none quite clicked.
When I was about 12, I spent the summer writing four plays on my dad's old typewriter for a school play competition. And I wrote little comic bits at secondary school and at university.
Baseball is a universe as large as life itself, and therefore all things in life, whether good or bad, whether tragic or comic, fall within its domain.
'Scalped' No. 1 was only the third comic script I'd ever written. I really learned a lot about writing on the fly with that series.
The play is one of the very few pieces of great dramatic and comic writing that I have read in a long, long time. I was drawn to it because of the power of the writing, which gives me the actor a chance to explore many facets of myself.
Such is the nature of comic strips. Once established, their half-life is usually more than nuclear waste. Typically, the end result is lazy, rich cartoonists.
I consider myself to be first and foremost a comic writer. The way I entertain myself - especially in those long and grim hours in the office - is to write stuff I find funny.
Comic books and The Chronicles of Narnia. My mother used to read those to me and my twin brother growing up.
What I really want to do is create great roles for women. And I'm not talking Nicholas Sparks romance. I think women's roles have gotten ghettoized in these sort of places... I'm thinking women in action, comic books, or like the Tony Soprano of women. We need some complex roles.
I say, if you believe what you read in the comic strips, then you believe that mice run around with little gold buttons on their red pants and drive cars.
I read a lot of comic books and any kind of thing I could find. One day, a teacher found me. She grabbed my comic book and tore it up. I was really upset, but then she brought in a pile of books from her own library. That was the best thing that ever happened to me.
I was not an avid comic book reader as a kid.
I'm not a child star, but you could say that I've grown up on TV. I went from being an unknown, down-and-out comic from Brooklyn and the Bronx to being a regular character on a major network comedy called 'Martin.' From there I went on to become the most notable black comic on 'Saturday Night Live' since Eddie Murphy.
'Axe Cop' is an animated show that just started on Fox that is based off the comic book series. And here's the hook: it's written by a 5-year-old. This 5-year-old has a brother who's, like, 28 and is in the business, and the little brother kept coming up with all these awesome stories for this character he dreamed up called Axe Cop.
I think that if you are looking at a comic that's made by one person, that there's just a level of intimacy that I don't really see anywhere else.
There is nothing that is so serious that you can't also see its comic side. Comedy is a way of talking about the most serious things.
We can put television in its proper light by supposing that Gutenberg's great invention had been directed at printing only comic books.
Did you know I started out as a stand-up comic? People don't believe me when I tell them. That's how I saw myself, in comedy.
From the age of four, I was a huge comic fan and still am. When Lost in Space came along it was like being in a huge comic so we jumped at the chance of being part of that project and it proved to be a good choice.
Well, I've been a big fan of comic books since I was a little kid. In fact, I used to write and draw my own comic books when I was on the old Lost in Space series.
I didn't follow the whole 'X-Men' story because it got too complicated. I'd pick up a comic book and have no idea what was going on.
I never storyboard. I hate it. I don't understand why so many directors want to make comic strips of their films.
Well, I'm always working on my comic strip and trying to, you know, keep cranking that out.
I'm not a comic. I'm a humorist.
Comic art is just different. It's art on its own terms.
At the same time, as you know, unless you are a comic book reader, Daredevil is not a known thing.
I'm a storyteller. I'm not like any other comic. I tell detailed stories - not made-up stuff, but true stories.
You know, I think whatever a comic talks about onstage is all they talk about offstage.
At the Sahara, the seats are banked and most of the audience is looking down at the stage. Everybody in the business knows: Up for singers, down for comics. The people want to idealize a singer. They want to feel superior to a comic. You're trying to make them laugh. They can't laugh at someone they're looking up to.
There were influences in my life that were more important than journalism, such as comic strips and radio.
The drawing and the crafting of the story are fun, but it's the overall meaning that matters to me. It might escape some people who just want to read a comic, and that's fine. The overall meaning is what matters.
When I and the other young artists were working in comics, our work carried with it a particularly American slant. After all, we were Americans drawing and writing about things that touched us. As it turned out, the early work was, you might say, a comic book version of Jazz.
As a comic, I've heard gunshots while I'm trying to get to sleep. I've performed where people wanted to do you harm after the show because of something you said.
A lot of comic actors derive their main force from childish behavior. Most great comics are doing such silly things; you'd say, 'That's what a child would do.'
