Comic Quotes

I want to be known as a funny comic not just a funny Latino comic. I want to be able to go everywhere and anywhere.

Whoever decided that comic valentines were a good idea should have been sent away to think it over.

I despise the comic industry, but I will always love the comic medium.

I think if you have a comic perspective, almost anything that happens you tend to put through a comic filter. It's a way of coping in the short term, but has no long term effect and requires constant, endless renewal. Hence people talk of comics who are "always on." It's like constantly drugging your sensibility so you can get by with less pain.

All great humorists are sad... I cannot help seeing beyond the tinsel of humour, and recognising the pitiful basis of jest - the world is indeed comic, but the joke is on mankind.

If somebody accuses you in a story of being a crook, you can demand that they prove it. But if a comic says it and you protest, people say, 'What's the matter, you can't take a joke?

Rage is caused by a conviction, almost comic in its optimistic origins (however tragic in its effects), that a given frustration has not been written into the contract of life.

Underground comics were produced by individuals - they were the auteur variety, rather than the production-line sort of comic book aimed at pleasing a vast general audience. Mainstream comics never appealed to me: they seemed sterile in their stylistic consistency, and were quickly consumed, the stories interesting only for so long as you were reading them.

I'm a comedian. I make comic films and there are certain ideas that occur to me that are comic, with heavy, serious undertones. There are some ideas that are more frivolous to me. The next idea that could occur to me could be comedy about death and famine or something.

I became a guy who wanted to be a comedian someday, or a comic actor. The way I put it was, I'll be like Danny Kaye. He was kind of the model I had in mind.

Why do all these people want [comedians] to be serious? The reason they want that is these are people who aren't funny. Anybody funny can be serious, but people who have no sense of humor, they can never be funny - and frankly, they're jealous. There's very few comic actors. Think about it. There aren't that many. It's hard because you have to be able to do both.

Seriously, if you want to get inside the head of a stand-up comic, you could do a lot worse than reading Steve Martin's Born Standing Up, all about how he developed his career and his creativity as a comedian. Lots of what he talks about is relevant to anyone in the creative arts - you find yourself, your voice, your technique and then maybe luck calls.

It's turned into a world of amateurs. There are amateur actors making millions of dollars, amateur cinematographers, amateur directors... Jesus, these amateur directors can get deals for anything. Another comic book? Oh, very good.

When I was developing the [TV Series "Daredevil"] idea, we were really doing something closer to what was in the comic book. By that, I mean in terms of civilians in the street knew that superpowers were an everyday matter of fact. When it finally ended up at Netflix, they really decided to land it in the Marvel Universe that exists in the cinematic universe. That changes the story entirely. It was no longer about the other, which is what that metaphor was. It's really more about the character herself, which I love.

There was a long stint during my childhood after I gave up on being a pro football player - were talking sixth grade here - that I strongly considered a future writing and drawing comic books. I have been making stuff up ever since.

Do you see that kitten chasing so prettily her own tail? If you could look with her eyes, you might see her surrounded with hundreds of figures performing complex dramas, with tragic and comic issues, long conversations, many characters, many ups and downs of fate.

I'm more influenced by characters than standups. I love strong, comic women, because it's so hard and I have so much respect for anyone who can do it.

I'm a massive comic book fan. I was buying weekly installments of "The Watchmen", and "From Hell", and "Parallax" and "Johnny Nemo". I was a huge comic book fan as a kid and I still am. Me and my youngest son are both comic book nerds together; make models and stuff.

The world of comic book collecting is not a pretty place. For a bunch of guys who like good-over-evil stories, you sure meet a lot of morally bankrupt assholes.

I don't consider myself a stand-up comedian. I consider myself a performer; a comic as opposed to stand-up comedian. Stand-up comedians stand there and do their bits; I break every rule in creation. If there's a rule that can be broken in stand-up, I'll do it.

In Brazil we have a comic strip in the newspaper. That one also attracts a different kind of followers.

There are a lot of comic strips in Brazilian newspapers that have been around for 30, almost 40 years. They are very famous in Brazil.

I think every filmmaker makes different choices. I remember in the early days, in some of the early comic book movies, certain white dissolves were used that would try to emulate the look and feel of comic book panel borders. Sometimes they would frame shots in panels or circles that gave it a real comic book feel.

I used to go to the Cleveland Comedy Club all the time. If there was a comic I liked, I'd go see him two or three times that week. Bob Saget was one of those guys.

I didn't realize, when I decided to be a comic, that a black person had never been allowed to stand flat-footed in America and talk to white folks. It never happened before.

Comic-Con is a bizarre world. It's wonderful. It's nice, feeling the love. Everywhere you walk, you feel the love.

As you've witnessed, Catwoman is the ultimate diva. From the pages of comic books to both small and big screens, Catwoman continues to evolve and mature like a true cat. Catwoman, is a unique breed, never taking the same form twice. But whatever form she takes, she'll always reign supreme. A dog maybe man's best friend, but a cat is everyone's favourite feline fatale.

I had to find my way of translating the excitement you get when you're reading comic books to the big screen.

Just like in the art museum, and notions of beauty and pleasure, if the hero is always a white guy with a squared jaw or pretty woman with big breasts, then kids start thinking that's how it's supposed to be. Part of the problem was that black comic book artists were making super heroes with the same pattern as the white super heroes. When you read a lot of those comics, the black super heroes don't seem to have anything to do.

Let me say something at the outset. The questions that have been asked so far in this debate illustrate why the American people don't trust the media. This is not a cage match. And, you look at the questions - "Donald Trump, are you a comic-book villain?" "Ben Carson, can you do math?" "John Kasich, will you insult two people over here?" "Marco Rubio, why don't you resign?" "Jeb Bush, why have your numbers fallen?" How about talking about the substantive issues the people care about?

I think a lot of the bells and whistles that become available to you would be impossible to resist for some people, so it's just never going to be a real stand-in version of your comic. People will have to take advantage of the ability to have sound, or zoom in and out, whatever it is.

What crystallized the importance of speaking out like that - of making nonviolence not just a tool or a tactic, but a way of life - was in San Diego [at Comic-Con]. One of the young girls who marched with us was wearing a hijab, and she came up to me afterward because I talked about my beard, and I talked about why I was doing it, and she came up and she gave me a hug, and she was crying. And she said, "Thank you. You have no idea how the other students treat me because they're shown that this is OK by Donald Trump. Thank you for speaking out."

Coming up through the ranks of any calling can be rough, but that battered soul who survives the early years of courting the comic muse comes close to knowing what only the soldier knows: What combat is like.

My platform has been to reach reluctant readers. And one of the best ways I found to motivate them is to connect them with reading that interests them, to expand the definition of reading to include humor, science fiction/fantasy, nonfiction, graphic novels, wordless books, audio books and comic books.

I feel like what's most important for painting - which has been hierarchically on the top for a really long time in terms of what is considered fine art, by comparison with something like a comic book or what's considered low art - is that painting should open up laterally to include other cultures and things that don't immediately resonate as a painting but are obviously of equal contribution to the genre.

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.

My characters are all kind of geek archetypes of people I've encountered at gaming and comic book conventions.

It's hard to transfer one person's type of comic timing or approach to another person's. It's something you innately hear like a rhythm in your ear.

People dressed up like me, at the comic-con in San Antonio. It's very rewarding.

Saturday morning cartoons do that now, where they develop the toy and then draw the cartoon around it, and the result is the cartoon is a commercial for the toy and the toy is a commercial for the cartoon. The same thing's happening now in comic strips; it's just another way to get the competitive edge. You saturate all the different markets and allow each other to advertise the other, and it's the best of all possible worlds. You can see the financial incentive to work that way. I just think it's to the detriment of integrity in comic strip art.

I love comic books and I love anime.

There's a rhythm to the words combined with the pictures [in a comic]. Whenever I'm working on a comic strip I re-read it, probably hundreds of times through to pay attention to how all of those things work. Sometimes even changing the angle of a character's eyebrow can really, seriously alter the effect and overall interpretation of a scene. And the insertion of a pause or a cough or a sniff, and all these things that we do in conversation, can bring it to life in a strange way.

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.

Human courtship has some wild extremes. At one end of the spectrum, there is harassment, pestering, blackmail, and an abuse of institutional power, which its targets rightly fear and loathe. At the other end is love, which as Nietzsche said, is beyond good and evil and always deserves our respect and compassion even when it is doomed or destructive. In the wide middle of the spectrum are all the ambiguous and tragi-comic goings-on of our species.

I was pretty nervous when I met Robert Kirkman. It's very strange to meet someone who created you. Andrea [ from The Walking Dead] is still very much alive and kicking, seven years into the comic book, so to meet Robert and be like, "Hi, I'm Andrea," I had to just hope that he was happy with the decision.

I drew the same things that most boys drew - airplanes and cars and fire engines. Then later on I discovered comic books, and I began to create my own comic stories. I was a comic writer, even when I was five or six years old. I would just make up stories because I thought it was fun.

I like the Internet as place to get instant gratification: posting a comic online is the quickest way to get attention for your art, but I have been talking to a lot of younger, aspiring cartoonists who very quickly get discouraged if they aren't getting a lot of attention immediately. This can also be aggravated by artists who appear to be really quickly Tumblr-famous, and get lots of notes on their work.

It starts with the writing. We have to think of all these characters - we have to treat them all equally. We have to think of them as having an interior life and having motivations. When I'm drawing female characters, I'm looking for that. I'm looking for subtext. I'm looking for ways to make the reader relate to them in a way that goes beyond the pure aesthetic value. You know, just drawing an attractive woman really gets kind of boring after a while.

Adults acting like children and children acting like adults is generally a pretty reliable comic device.

What happens, I think, is especially for comic effect you find something about yourself that you don't like. You exaggerate it, and it's funny.