Armando Iannucci is one of my heroes. As I was growing up, he was probably the most influential comic voice that I had.
Bad taste is not illegal. I always got my first laughs as a kid by saying inappropriate things. That's always how we're going to get our laughs as comics.
I see no intrinsic reason why a doubly talented artist might not arise and create a comic-strip novel masterpiece.
I think that, ultimately, there are so many characters in G.I. Joe that even all the iterations - the comics and the different cartoons and everything - have been a big ensemble. Lots of crossing storylines and stuff.
If we were making a cop comedy about bad cops or cops who were comically bad at the jobs, then the jokes would be more hijinks and more like slapstick.
When I was a young artist, I liked and was interested in belonging to the mainstream comics group. I didn't introduce myself as an author, but only as a designer.
I guess I don't have much interest in writing straight drama. So whatever subject matter I choose will ultimately be dealt with in a comic way.
I grew up reading comics. I was primarily an 'X-Men' fan, but I definitely dressed up as Spider-Man for Halloween when I was, like, 12 years old. Maybe younger than that.
A lot of times when I sit down with the other comics and try to talk theory, they say I'm being too serious.
Because that’s what a comic is, ultimately: a collection of pages. It’s not a flatpanel or a touchscreen, even though that’s where it might eventually be displayed. It’s a page.
I would like to feel that I have a range and that it's not just a matter of being a comic actor or a serious actor, because those are really artificial classifications, I think.
Charles Schultz: Don't be afraid the world will end today. It's already tomorrow in Australia. The Covert Comic: I’ve been calling Australia all morning, and there's no answer.
Not everyone reads comics, although most people know the major superheroes, but the majority of people play video games.
No true fan wants to go to Comic-Con and get assaulted with a marketing blitz about just any old show.
So much of comics are dictated by characters talking to one another - or in focused spaces where 'the camera' has to stay in pretty close on what's going on.
I enjoy comedic things. People don't understand it's the hardest thing to do. We have a ratio of 25-to-1 between good dramatic actors and people who are considered good comic actors.
When I first started out, 'Time' magazine did an article on what it called 'the sick comics,' and they were myself, Shelley Berman, Nichols & May, Jonathan Winters, Lenny Bruce, and Mort Sahl. We were considered 'sick.'
I was embarrassingly well-versed in Marvel lore, so it was pretty easy to slip into that world. But really, already, by the time I'd started writing superhero comics, my dream was really to be writing my own characters.
For a long time I wanted to be a comic strip artist but when I started doing them in my teens they were getting really elaborate with tons of poses and a lot of information.
Getting trapped back in the '80s, it's almost like a comic nightmare, which for me is a very real nightmare. Every time I flip through the cable, I have flashbacks.
I've heard that Alfred Hitchcock said that by the time he was ready to shoot a film, he didn't even want to do it any more because he'd already had all of the fun of working it out. It's the same thing with these Frank comics.
