I'm a comic nerd. I'm a former serious collector for much of my childhood and early teen years I wanted to draw underground comics.
Comics don't work without the visuals, obviously.
We wanted to protect the legacy of DC Comics here in New York, and there are many things that make sense to protect and maintain while setting up parts of the organization in Los Angeles to grow.
Lots of comics try stuff out all year round, which is very sensible - I don't.
Us comics guys tend to get really good at the things we draw a lot. I'm good at creepy old forests, Victorian houses, underground goblin cities, and beautiful but creepy fairies.
Historically, diversity has been a real issue for superhero comics - so we need to do something about it, crafting strong, modern heroes for a modern audience.
If you want to draw comics, you really have to love to draw, as you will be spending many hours sitting down with a pencil or pen in your hand.
Aquaman is one of the greatest characters at DC Comics and one of my favorites.
I like my messiness on stage, though I watch comics who come at a joke from every angle and I think, 'Yeah! That's how it's done!' But for me it's the audience. If I feel connected to them, I have so much fun, and if not, it stinks.
With superheroes and comics and fantasy and sci-fi being absolutely the popular currency in cinema, it's like people have said in endless magazines, it's the revenge of the geeks and all that. There's some truth in that.
I think supporting casts in comics are missing. I think a lot of the time in comics, all we have are people in costumes talking to other people in costumes, superheroes talking to superheroes and supervillains, and that's it.
Millennials give comics the kind of adulation past generations reserved for musicians. We respect Lady Gaga. But we'll travel hundreds of miles to touch the hem of Jon Stewart's robe.
The great thing about having digital comics is that it is like having a comic-book shop on your digital device. It has turned comics from a destination buy to an impulse buy.
The thing with the comics is that you have license to go down every alley your brain can think of.
When I was in the business as a young performer, it was a recognised fact that when you got to 60 you were out, because there'd be a new crop of comics coming up all the time, every 10 years or so.
I learned about the psychology behind Elektra and that excited me. And then I read the 'Daredevil' comics, especially when they met because I wanted to get an understanding of the relationship between Elektra and Matthew.
I think it might surprise the average person how angry people can get over the comics.
Many comics stay in one city and develop their acts for that particular audience.
I had a few comics, but I was by no means a huge aficionado. I was more of a 'Mad Magazine,' 'Calvin & Hobbes' sort of nerd.
Historically, Hollywood comedy has arrived in skinny envelopes. From fence post Buster Keaton to herky-jerky Jerry Lewis to wiry nerve-bundle Woody Allen to hung-loose Richard Pryor to whippy contortionist Jim Carrey, its comics and clowns have tended to be sliced thin and bendable.
Some comics really thrive on being disrespectful, especially toward women, and it's somehow understood as edgy, but I'm the opposite. I've never liked curse words for that reason.
I collected the 'Walking Dead' comics.
I really think I tried to capture the essence of the comics: what I thought would be the essence of Elektra. And then, as any character that I play, I really tried to dig inside me and try to reach real emotions and transpose that in her world, in who she is.
Comics are not theatre - there's a very important difference in that the reader controls the page. You can linger on a page of comics as long as you want. You can read and go forward and then move back; you can reread, in one sitting or at your leisure. You can take as much time as you want to take in that story.
I never read comics as a kid. I guess I was lazy and watched cartoons instead.
The comics are where all the crazy subconscious stuff comes out.
Comics brought me to the dance. It'll always be my first loyalty.
When I need guidance or just to kvetch or to bounce ideas off of people, I go to Gail Simone, who is very much kind of the den mother of all of us who are working comics.
My father spent his entire early career as an illustrator for comic books: EC Comics like 'Tales from the Crypt' and 'Creepshow,' then moving on to such magazines as 'Mad' and 'Weird Science.'
I don't buy comics anymore, for the most part. I eat my lunch off of them.
I am someone who, from a very young age, was a huge fan of DC Comics.
The Smurfs - and they're this way in Peyo's comics as well - do have a rubbery indestructibility about them. They can get bruised & battered. But they then just sort of bounce back very quickly, like those classic cartoon characters Wiley Coyote and Tom & Jerry.
I actually come from comics, and I'm big on comics. I was reading 'Walking Dead' from the beginning. Then just being on the show, I was really lucky to work on episodes like 'Pretty Much Dead Already' and 'Clear.' I worked a lot on episodes that I didn't write.
I'd hate to be writing 'Adventure Time' comics and not be excited about it.
I was not a giant comic book fan as a kid, but to the extent that I did read comics, Spider-Man was always my favorite guy.
I was into Alan Moore and Frank Miller. I was a teenager when all those books where coming out for the first time - 'Watchmen,' 'V for Vendetta.' It was a great time to get into comics.
