Comic Quotations | Page 5

Superheroes are best imagined in comic books. The union between the written word, the image, and then what your imagination has to do to connect those allows for so much.

Summer was kind of the opposite of the Marissa Cooper character, who was the straight 'popular girl,' ... It was fun to be the humorous part of the Marissa-Summer team, just like Seth is the humor on the Ryan-Seth team. Josh has such a tremendous sense of humor, so humor and comic timing were important parts of what I guess you'd call the formula for the show.

It's hard to believe that professional entertainers could have put together a show less entertaining than this year's Oscars, hosted with a smug humorlessness by comic Jon Stewart, a sad and pale shadow of great hosts gone by.

It was like a 1930s comic book set in the future. I can't say what it was, but there was something about it that made me think it would work as a movie.

It was mostly through pop culture, through hip-hop, through Dungeons & Dragons and comic books that I acquired much of my vocabulary.

I've had high regard for a great many actors. I started out as a serious actor. I didn't start out as a comic actor at all. That just developed because I happened to be louder than anyone else. If they wanted a blowhard character, they called on me. I've had innumerable people that I've respected and venerated.

I've grown tremendously as an actor by being there. It is comic writing the likes of which I don't know that I'll ever see again and it's been a great, great experience.

I want to play the Green Lantern. I'd love to do a comic book hero. Go to the gym, get all buff, puff up. That would be a lot of fun.

I wanted to make an explicitly educational comic that taught readers the concepts I covered in my introductory programming class. That's what 'Secret Coders' is. It's both a fun story about a group of tweens who discover a secret coding school, and an explanation of some foundational ideas in computer science.

I try to mix it up. Who wants to see a comic who just goes on with one subject, such as politics, for an hour? I go in a number of different directions. When I perform, there is no subject that is taboo.

It was just a small idea, to write these records and songs that have a concept, ... and at some point create those records in another medium, whether it would be comic books or a novel or something else.

Once the character was established, I felt that I had to build a strong foundation for the Spawn brand name, ... To build a strong foundation you need four pillars. In the comic book industry, those pillars are television, video games, movies and toys or ancillary products. If you have a good foundation and pillars, you'd be surprised what you can build. You could even build skyscrapers

Once I found out that I was playing 'Deathlok,' I unearthed my old comic book collection. I was going home for Christmas, and I have a collection of thousands of comics. I was surprised to see that 90% of them were Marvel. So, I wanted to go through my collection and start there.

Once I started down the path of co-founding Image Comics, and even co-publisher, it just seems a lot more like a career path that isn't that atypical for someone with a college degree. Whereas, someone who draws comic books as a freelancer and lives from job to job is a more unusual story.

After we'd filmed one series of 'Kiss Me Kate,' everyone was saying: 'The guy's got great comic timing,' - that was the first I'd heard of it. I'm not a comedian, I don't want to depend on a singular box of tricks. I like story and characters, to take on world views that are not my own.

The key to any good comic strip or television sitcom is to reset the board at the end of the episode because people like familiarity.

I'm not good at narrative; I'm really a gag writer, and that comes from being in the newspaper comic strip world for a while in college. What I do is I just write tons of jokes, then I sort them out in terms of quality and then pick the best of the jokes and then try to form them into a plot. If I get a good theme going, I feel lucky.

I kept telling my mom that reading comic books would pay off.

I'm a fan of characters wherever they come from. Truth be told, I wasn't a big comic book fan growing up. Maybe that helps me bring a fresh perspective to things because I'm not trying to match anything that's been done in the past.

In my head, scenes are shot from certain angles; there are camera pans, all of that kind of stuff. Converting those visuals to comic format was mostly a matter of adapting them to the rhythm of paneling.

I'm not a comic person at all. It never reached me in the north of Ireland, in the '60s and '70s growing up. We used to get stupid comics like 'The Topper' and 'The Beezer,' things like that.

I'm never one to care too much if my work becomes adapted; I make comic books.

I like talking about comic book process, and one of the things is that I have plans going ahead for years, and the plans constantly get thrown away and shifted. There's a difference between planning and what actually happens in life, and comics have a life of their own.

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 big fan of Tina Fey and Amy Poehler and people like that.

I'm passionate about fantasy movies. I'm passionate about comic book movies. I'm passionate about superheroes. And movies about vengeance. And all of that - the stuff that I grew up reading.

I'm so not a comic book guy. The most I knew about 'The Flash,' as a little kid, was the Underoos. I had 'The Flash' Underoos.

If I write a crappy comic book, it doesn't cost the budget of an emergent Third World nation. When you've got these kinds of sums involved in creating another two hours of entertainment for Western teenagers, I feel it crosses the line from being merely distasteful to being wrong.

I haven't been doin' much comic book writing for the last several years though, as I've been writing television projects and a novel.

I had the 'War of the Worlds' comic book. I had lots of comic books.

I'm very lucky that I started out as a reader of the comic book and a viewer of the show. And I try to remain that, and make 'The Walking Dead' that I love watching. Luckily, I have the source material that I love, and I want to serve that as well.

I like writing comic pages, discovering the rhythm of the panels, learning how much you can and can't express. It's good to stretch myself as a writer instead of always doing prose work; I write screenplays for the same reason.

I like the superhero comic books, and I like to see what the actors do creatively with the characters and how they bring these superheroes to life in the movies.

I'm constantly trying to mine the DNA of John Constantine and stay true to that character in the comic books.

I'm a severe graphic novels junkie. People ask me about it, and I say I like the graphic novels. Comic books are for kids, and graphic novels are for adults. But you can't really separate the two.

I performed after 9/11 for relief workers down by Ground Zero. There were these men just coming back, and they were voraciously hungry. They were heroes, pulling rubble, and I was a new comic trying to go blue just so I could get some laughs.

If you can sit through The Aristocrats and laugh at it, you come out the other end realizing that to be made to laugh at it robs the telling of it of the power to shock and sting. It's why (word-abusing comic George) Carlin is in the movie. It's basically a lesson about words, how we can give power to words and take it back. Comedy lubricates that transaction sometimes.

In the '50s, a lot of stories were built around radiation and the proliferation of new technology. In the '70s, there were a lot of stories that dealt with the Vietnam War. So comic books have always been a reflection of the times we live in.

Interest in graphic novels has exploded, and for good reason ... A new generation of outstanding authors and artists is exploring the form in ways that reach far beyond traditional ideas of the comic book. And a new generation of readers raised on a visual world of movies, TV and video games have adopted the form as their own.

In television, if I write that Matthew Fox flies up around the island so he can see how big it is, we have to actually shoot that. In a comic book, you write it, somebody draws it and there it is. No budget, no actors. That frees you up to really do some outside-the-box storytelling.

I love the comic roles - I get the laughs, and I get to go home before anybody dies, ... And this guy is so universal - there will always be snake oil salesmen, won't there?

In today's world, these are not funny things. Maybe if you are a professional comic on cable TV, you can get away with it. But not when you are in public life.

In the 1950s we use to feel that television was taking away our comic readership; with today's exciting, powerfully visual movies I have to wonder about their effect on the kids' loyalty to the comic book medium all over again.

In the beginning of the century, in 1900, the newspapers in this country began running comic strips, and they were called jokes or funnies. The word comics developed later, but it is that that began to give the name - the ambience of comics - the feeling of being a frivolous kind of art-form.

I ran Book Expo for five years, and while running that show, I started recognizing the explosive growth of comic books and graphic novels. I couldn't believe that there was no comic-based fan show in New York, the media publishing capital of the world. I started talking with some other people and from that point on, the whole industry was behind us.

If you were doing comic strips you would have the dark cloud above his head, constantly raining. If the morning has a little bit of fog, he'll say fog is descending on America. If the sun is out, he'll say that we're going to get overly sunburned. If it rains, he'll say there are floods coming; if it doesn't rain, he'll predict drought. And the fact of the matter is, in terms of the American economy right now, it's in a very strong position.

In New York, if you wanted to be a comic you had to bring people to try to get on an open mic, but you could get on a regular show in Florida.

I rather liked Death Line. All those zombies on the tube train thing was good fun, and it allowed me more of a comic turn than I am usually afforded.

Clay Aiken is amazing beyond that glorious voice. Turns out he is an excellent comic actor and a master of character.

I didn't read comic books, growing up. I was more of a science fiction/fantasy novel guy. I loved reading Edgar Rice Burroughs' 'Tarzan' and that kind of stuff.

I didn't know about the comic and I'm not really very familiar with that genre, so it was a huge challenge for me.

I was never really a comic-book fanatic.

Hong Kong comic actor and director Stephen Chow said Tuesday he'll start filming the sequel to his action film

I was a huge comic book fan, and I still am.

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.

I see a Latino comic as someone who can only perform for Latino audiences. I cross the board.

I'm not really all that familiar with comic book culture.

Comic strip is almost like music on a page that you perform in your mind. It's not just pictures. There's a particular rhythm and structure to it that is unlike anything else. It literally is like music. You hear it in your mind as you read it.

Every single fat comic uses his weight as a punchline. There is something sad about that.

Peellaert's comic strips were the literature of intelligence, imagination and romanticism.

I haven't been to Comic-Con.

To live in society today is like living in one enormous comic-strip.

Everything is in how you are going to handle it. As a lifelong nightclub comic, I'm ready to handle whatever I have to handle.

I did end up becoming a drawer, a sketcher and a painter because of comic books, but I didn't read them. Not at all.

It's not movies and it's not "fine art." The beauty of a comic is that it's clear, direct communication. My work is getting simpler and more cartoony because I'm much more interested in communication now than in any illustrative value.

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.

Now I have notebooks that are filled up, mostly with Doom Patrol, but also angry letters to myself mixed in with the comic.

Even a pretty traditional comic book writer can make valuable contributions to the Internet.

A comic matter cannot be expressed in tragic verse. [Lat., Versibus exponi tragicis res comica non vult.]

If ever I were to read a comic book, it might be this one.

I brought samples in, because I didn't have any comic book samples, and I brought all these illustrations that I had influenced by Norman Rockwell and a couple of the other big boys. That's all I had, that's all I brought.

I'd have to say that the things that mean the most to me are the examples of original comic art that I'm able to look at every day, most of them either by notable friends and/or for projects that I've worked on.

I don't see any division between the comic and the tragic. I feel like I'm writing about serious things, and humour is one of my tools. It's not contrived, just part of my world, part of the way things are to me.

I do screen work, adult books, kids books and comic stuff, which gives me a pretty full plate. The problem is usually choosing which one I want to work on next.

I concentrate, more than I think virtually any comic book artist has in the past, on the so-called mundane details of every day life - quotidian life. What happens to a person during a working day, marital relations, and stuff like that.

Comic characters have to have some kind of life breathed into them, and I'm never exactly sure how that's done, but you can tell when it works and when it doesn't. There's nothing worse than looking at a comic when somebody doesn't have that. It's like looking at store windows or something.

Comic books would probably be the last thing on the list of what we'll do at this point. But wherever a comic book is warranted, we're more than capable of doing them.

I have always had a need for attention but didn't plan to be a comic.

Always be comic in a tragedy. What the deuce else can you do?

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.

I was the youngest kid on my street, the youngest comic in the clubs. I always felt like I was playing catch-up. I was very angry.

I read comic books and stuff but I didn't know a lot about it.

I always bring my kids vacation souvenirs printed in Comic Sans, so they know I love them but not unconditionally.

I'm actually a little comic nerd myself.

Something you can do in a comic that you can't do in a film is that you can have thought bubbles.

I love comic book movies, and Marvel Comics obviously are the best.

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.

Life is deeply tragic and also very comic at the same time. It's everything at once.

It's a lot easier to say you're a comic than a performance artist.

I find it hard to get enthusiastic about hotels because, as a touring comic, I spend a lot of time in them.

Trish "Patsy" Walker is just one of my favorite characters and she was a big comic character in the '40s.

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.

A good comic explores the imagination, but it's always got to have those notes of truth running through it.

I mean, I love Comic-Con.

My brother had boxes of comic books. He was really the collector.

I've always had a soft spot for comic books. I learned to read from them. The words in them were so interesting.

There's one theory that the funnier a comic is in his act, the more mind-numbingly boring he'll be when he's not holding a microphone.

Bob Saget is the dirtiest comic who's ever lived. Nobody touches him.

For me, who loves to draw and who loves to write and cannot choose between one or the other, the comic is the best form.

I love comic books. I just do.

I am a total geek. I'm not even a closet comic book geek. I am the comic book geek.