In the past, in the '60s and '70s, genres were much more segmented. You had action guys who were deadly serious about it, and I think you had comics that were comics.
My grandfather was a newspaper publisher and his paper had all the comics in NYC, so some of my earliest memories are of reading the family paper and heading straight for the comics insert.
Funnily enough, the Federal Reserve produced comics about monetary policy, and there is a good comic book guide to microeconomics and macroeconomics out there. But it is not really appropriate for younger readers; it is really aimed at economics stud...
We as comics do want an immediate response from the audience. It's really quiet on the set, and there are only the producers, and the director, so a comic is looking for someone to give a reaction, even if it is the camera guy.
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 confess I didn't read the 'Green Arrow' comics before coming to play Shado. The comic books are not as easily accessible in Hong Kong as they are in the States. I do enjoy superhero fiction, though.
I don't really read any comics, but when I got casted on the show, I starting reading 'The Walking Dead' comics. I felt like I needed a better idea of the character.
I've gotten more and more cut off from the regular comic-book world, from straight comics and stuff like that. Once in a while, I'll take a look at something.
The difference between graphic novels and web comics is even greater than graphic novels and story boarding. Web comics really is a legitimately separate genre.
As much as I'm enjoying stuff out here in Hollywood, I will always think of myself as a comic-book writer who does film and television, not a film and TV writer who occasionally does comics.
I'm a comic writer, in some ways, and a comic person when I'm up at a podium, in order to disguise the fact that in my heart I'm disgustingly earnest.
I don't think it's a coincidence that comic books appeal so strongly to children. Not that it negates any of their power for adults, but there is something about comics that makes them a perfect storytelling system for children.
Quentin and I were constantly finding something new that we had in common and comic books were one of them. I think we were talking about comic books much earlier in our relationship, before I had the part.
We thought everybody read comics. We didn't know we were weird. We didn't know people that collected comics were strange. It was as normal as listening to rock music on the radio.
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.
I stole comic books from my brother when I was a kid, but I was never like an avid fan. I can't claim to be like a comic book geek.
I want to be a standup economist, because isn’t money funny? Actually, without gold backing our currency, it’s all funny money.
Standup keeps me grounded and keeps me in touch. I get to go from small towns to big cities, across Canada and the U.S., and you're out there and talking to people. You get a sense of what they respond to.
I'm a comedy geek so anything comedy related, whether that's standup shows, improv shows, I'm all over that. That's my favorite way to be entertained always.
A weird sort of awareness set in, like, 'Wow. My standup isn't just separate from everything else I do anymore.' With Twitter and Face book, everything is universal that everything everybody says gets seen.
You reach a point when you say to yourself, 'Do I want to keep doing this?' There are other things on my plate I want to do - I've been writing a play; I've been neglecting my standup.
