I don't know if I could [do a TV show]. I would if it had nothing to do with the comic. It would be really weird and maybe not feature any of The Umbrella Academy characters.
I think James Bond is a spy. He's not superhuman. Calling him a superhero is like calling James Bond movies "comic-book movies."
If I won the lottery tomorrow - which would be a real trick, since I haven't entered - and was independently wealthy for the rest of my life, I'd write comic books, because it's what I like doing.
Comic book heroes are an important part of our culture.
I look at comic books, and I do very eclectic mood boards with ideas and images that have to do with a character or story point. It's a bit like spinning plates. You gradually just steal your ideas.
One of the reasons [William] Shakespeare is so endlessly fascinating is that you can look at that figure from about 10 different angles: Caliban in Shakespeare's day was probably viewed as a sort of comic, barbarian type, but into the 19th century there were productions where Caliban was the hero. He's a potential rapist of a minor. Is that a good thing? No, it is not. On the other hand, Prospero's got him cooped up in a cave and tortures him if he doesn't do what Prospero wants. Is that a good thing? No. Shakespeare doesn't let you off easy.
Even in the tragedies, [William] Shakespeare always put in parts for the comic actors because his audience was mixed. He puts in people who talk like aristocrats. He puts in idiots and fools.
I have been a fan of comic books since childhood.
I think of myself as a theatre comic instead of club comic because I tend to talk for a bit before I start being funny. I don't really do the one-liners and five second bits or whatever. But it's good to work stuff out sometimes.
That's what's interesting about people. It can be funny, but when [John] Travolta got there and did [comic moments] you're like, "Oh! This is really funny." Or when Karen [Gillan] and Taissa [Farmiga] do something, I'm like, "This came out so much funnier."
In comedy writing, a sitcom plot is basically the same thing: What's the worst thing that could happen? But you're playing it for comic effect. It's a similar muscle being used with Black Mirror.
I'm used to doing comic books, where every month there's a new comic book! I find that the movie business is not quite the same. It doesn't move quite as fast.
It's a great loss.[Carrie Fisher] was a comic genius, as far as I'm concerned.
I was in the beginning when [comic book superheroes] started, but not anymore. Now I expect it. I've gotten very used to it.
I don't think you ever outgrow your love for things that are bigger than life and more colorful than the average life. And somehow I feel that these comic book stories are like fairy tales for older people, because they have the same qualities.
I enjoy the fact that we have these mobile comics now, which are sort of a cross between a comic book and an animated cartoon.
I felt certain uneasiness, a strange sensation, which had comic to a head. Every evening I went to Yahya to report that Mujib [Rahiman] and I weren't making any progress, and Yahya [Khan] showed no interest. He looked away or complained about the television or grumbled because he couldn't listen to his favorite songs - his records hadn't arrived from Rawalpindi.
Comic timing is something you are either born with or do not have.
I wanted to do comic books... as a comic book artist, as an illustrator. But I'm not very good so I thought I should do something else! So I went to a film school when I was seventeen and came out when I was nineteen.
Well you know, the comic strip [Doctor Strange]... yeah, was an Asian man, in fact, a very ancient Tibetan man living on the top of a mountain. The film script that I was given wasn't an Asian man, so I wasn't asked to play an Asian man - I was asked to play an ancient Celtic person.
Since I started as a comic person then became a musician to me it was interesting because I have this really great, interesting fanbase that's really smart and energetic and uh how could I steer them towards a medium that shaped who I was? You know, steer them toward comics. That was really the goal, to bring a lot of readers cuz they were reading a lot of comics but most of them hadn't been reading American comics, they'd be reading manga sitting on the floor of a Barnes and Noble.
If you look at the image [ Portrait of the Artist as a Shadow of His Former Self ], it treads on a kind of popular stereotypical image of the black figure, in both its flatness and slightly comic edge. To take that image as a starting point and to render it in a proto-classical medium, like egg tempera, and then use a repertoire of classical compositional devices to make the picture was a way of setting up an engagement with art history.
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.
Everybody's different and every person is different and every actor's different and everybody has different wants and needs, but I'm a kid who loved comic books my whole life.
I'm in a comic book fan. I have long boxes at home. I'm a comic book collector; I'm not joking. It's just the coolest thing ever.
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