Matt Groening Quotes

Comic-strip artists generally have very modest ambitions. Day to day, we labor to fit together all these little moving parts - a character or two, a few lines of dialogue, framing, pacing, payoff - but we certainly don't think of them adding up over time to some larger portrait of our times.

The thing that I came to realize was that Schulz is the great unifier. Here's the one cartoonist that pretty much everybody can agree on.

Beetle Bailey is actually me, in uniform. I've got about 20 characters, and they're all after friends of mine.

I don't consider myself a cartoonist, because to me a cartoonist has a lot of technical ability to draw and such. However, I do consider myself to have a bit of a cartoonist character. I definitely am analyzing and satirizing pop culture and politics and whatever strikes my fancy.

You can write a little and can draw a little, but there's necessarily a limitation on both in a comic strip, since it appears in such a tiny space.

Comic books and graphic novels are a great medium. It's incredibly underused.

In a way, we tried to make 'The Salvation' a contemporary film with contemporary emotions. At the same time, in the script, you get a feel that all the small talk is not a part of our universe. It's more precise talk.

Some of my favorite media is the still cartoon that you can sit and study. You can get amazing metaphors across really quickly. I'm in awe of a Charles Schulz.

'Diary of a Wimpy Kid' is my first book, and it's the fulfillment of a life-long dream. I had always wanted to be a cartoonist, but I found that it was very tough to break into the world of newspaper syndication. So I started playing with a style that mixed cartoons and 'traditional' writing, and that's how 'Diary of a Wimpy Kid' was born.

I love graphic novels - I love reading them, I enjoyed writing them, I would love to go back and do them again. I hope I'm savvy enough to do them in the right way.

In the high level cartoon world, my number one admired hero would be Chas Addams - really a top, top artist that the 'New Yorker' was lucky to find and employ.

I thought about trying to do a strip. I even tried to do it, but I felt I didn't have the voice. Even though I liked that form, I didn't think I thought in the form of the three panels.

Doing graphic novels is cool! It's fun! You get to write something, and then see it visually page by page, panel by panel, working with the artist, you get to see it fleshed out.

A cartoonist creates his whole universe without any input.

I always wanted to write something illustrated, and the Details strip finally gave me the opportunity.

Whenever a film allows you to think and feel and take it beyond the moment, I think it's achieved something. And 'Funny Games' does that.

You can go through comic strips alone and study the common man. You can trace our history.

As I've grown as a creator, I feel that I want to tread in deeper waters and have a lot more going on emotionally with the characters. That's my appreciation for comics as a creator and a consumer as well. I'm more into stories that don't just bounce off the surface but go a little bit deeper.

That was my relationship to 'Archie' for the most part: just the Sunday strips.

Musicals aren't two-dimensional froth.

You see it in the stuff I've done at Laika: I've always tried to make movies that have an artful blend of darkness and light, intensity and warmth. That have a thinking brain and a strong beating heart at the centre of it.

'Scalped' is representative of the kinds of stories I like to read and I like to watch.

In 'Sanju,' there are too many colours. Some other filmmaker could have taken a dark side to that story.

The story entitled 'Good-Bye' is probably Tatsumi's most well-known work, and I think it's a good representation of many of Tatsumi's skills and stylistic tendencies.

Certain souls may seem harsh to others, but it is just a way, beknownst only to them, of caring and feeling more deeply.