Stupidity really gets me going, when it's just plain stupid, obvious stupidity. And I think that's the reason my act has become more political. I've become somewhat more of a political comic because the level of stupidity I've watched is staggering.
Harrison Ford is a great actor and he's and lovely man and a great father and all of these things, I got to just meet him as a person and someone I respect as an actor.I'd never seen any 'Indiana Jones' movies or 'Star Wars' movies. My husband made me watch the Indiana Jones trilogy, I just was like fanboy Comic-Con geeked out. It was amazing I didn't show up to set with a whip and a hat.
The entire Quran is a big joke. If it was not so violent, it would be the biggest comic book ever written.
I went into Hollywood and met Mike Aarons and went to Grantray-Lawrence Animation to work on the, by today's standards, extremely cheap and crude Marvel superheroes cartoons which basically consisted of taking stacks of the comic book art, taking parts of the art, pasting it down, extending it down into drawings and occasionally a new piece of art to bridge the comic book panels and limited animation and lip movement.
One of the exciting things about producing a comic is seeing the artist stamp his own interpretation on it.
Anyone who has the kind of inventive and inspired comic sensibility to be able to do that kind of work must be pretty talented.
My parents read the comics to me, and I fell in love with comic strips. I've collected them all of my life. I have a complete collection of all the "Buck Rogers" Sunday funnies and daily paper strips, I have all of "Prince Valiant" put away, all of "Tarzan," which appeared in the Sunday funnies in 1932 right on up through high school. So I've learned a lot from reading comics as a child.
Comic strips introduced me to metaphors. They are pure metaphor, so you learn how to tell a story with symbols, which is a very valuable thing to learn. And I learned that from motion pictures, too, and from poetry. Poetry is mainly metaphor. If it doesn't have a metaphor, it doesn't work.
Any comic can get on the radio show and be funny. You can get that on any morning radio show or afternoon radio show. There are plenty of people who do that. It's not a difficult format, to sit around with two or three comics and be funny.
When I was a young comic in New York and I wasn't getting any work, I was wandering around the Lower East Side with my notebook. I would stop at the guitar place on St. Mark's and talk to that dude for a while, then I'd go to the bookstore and talk to that dude for a little while. I had a guy over at the record store, and I'd talk to him for a while. It kept me connected to life.
The good thing about being shy though as a child is that you become very observant because you're not really actively participating. You're sitting back watching everyone. I think that's really helped me as an actress because I'm good at observing people and then copying them for comic effect.
My dark comic edge is the end result of trying to use humor to maintain my sanity growing up in a dysfunctional family in Honolulu.
[C. Montgomery] Burns is much purer evil than Nixon was. I think it's the purity of his evil that attracts me as a comic character.
If I could, I would live in Houston, and I would encourage any comic starting out looking for a good place to develop to move there.
I'm a nightclub comic. That's what I do. I work in the clubs uncensored because my mind is uncensored, and those are the thoughts that I have. I do the kind of comedy that I would enjoy seeing.
There are different rules for comic books now. You've got prima donna's that are dealing with the direct sales market, so if they say it's going to be late, then that's what you tell the dealers and it's late.
I did get a nice compliment from Ramona Fradon a few years ago.She was talking about the one and only Plastic Man comic that I inked for her for DC and she said it was the only time that she'd ever had anyone ink her. Everyone else put in their own personality and changed it. In fact, bless her heart, she said if she were still doing Brenda Starr, she'd have me ink it.
It's not Comic Con any more. It's this huge marketplace for the motion picture and television industry. And the toy manufacturer's and the game people. One of the problems with International Comic Con is that tickets go on sale for the next year's event and the place is full of thousands and thousands of kids who have scraped together every dime to get admittance because they want to get all the freebies.
I found that the majority of people who stopped at my table [ at the Comic Con] last didn't even know who Winnie the Pooh was, and the new feature was just opening in the theaters.
I've been very lucky with the people I've met over the years. Way back in the early '70s I went to [Phil] Seuling's conventions for something like three years in a row from '70 to '72 and I remember at the '72 luncheon with the Academy of Comic Book Artists and talking with John Romita about the kind of brushes he used. Pros ask pros the same questions that fans do. "What kind of pens do you use? What kind of brushes do you use?" I was so amazed that the wonderful work John Romita was doing was accomplished with a Windsor-Newton series 7 Number 4. Not a 2 or a 3, but a 4.
I learned early Jack Kirby favorite movies were the Warner Brothers from the '30s. When you look at Jack Kirby's comic books, or at least when I do, I can make an instant connection. When he said he loved those movies it was like, "Of course."
I've been writing for a long time, since the late '60s. But it hasn't been in the same form. I used to write scripts for television. I wrote for my comedy act. Then I wrote screenplays, and then I started writing New Yorker essays, and then I started writing plays. I didn't start writing prose, really, until the New Yorker essays, but they were comic. I didn't start writing prose, really, until the '90s. In my head, there was a link between everything. One thing led to another.
When a comic becomes enamored with his own views and foists them off on the public in a polemic way, he loses not only his sense of humor but his value as a humorist.
An insult comic is the title I was given. What I do is exaggeration. I make fun of people, at life, of myself and my surroundings.
Even the worst comic is at least somewhat entertaining, if only in a pathological way, for five minutes.
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