Peggy Rathmann Quotes

The exciting thing about doing art for someone else's story is how I can translate their world through pictures, and that's always a pretty big challenge.

From the very first movie I ever made to the current time, there have been times between action and cut when I've sensed some kind of new dimension that I haven't been familiar with before.

In a sense, I think a movie is really a little like a question and when you make it, that's when you get the answer.

Be drawn to the visual arts for it can expand your imagination.

For me, drawing is a way of navigating the imagination, and it remains the fundamental vehicle of my practice. Drawing allows me to be at my most inventive.

I love illustrating for other writers because I am given stories I never would have thought of, and my work as an illustrator is always in support of the story.

Cartoonists' dirty secret is that we tend to come up with stories that involve things that are really fun to draw.

I view art as an inspirational tool.

I had fears going into television that it might become boring to me, and I always like to be challenged, push myself. You do a film, and you know where you're going; you have this material to stretch and play with as much as possible because you know how it ends.

Before 'The Walking Dead,' a few of the jobs before that were just like, 'Ugh.' I try and make everything as creative as possible, even when I get the script and can't imagine what I'm going to do with it.

It's fun to try and picture what exactly is in your head and translate it onto the screen. How you can take something that lives in my mind and bring it to life - but that part is fun.

The longer I look at something, the more my imagination churns and I can find somewhere to put it.

You are always drawing from your personal life and using your imagination to fill in the blanks.

Our brains have this habit of quilting dreams from the fabrics of our lives. As a filmmaker, I get to do it for a living.

Most of my work - including everything from my own comics to the covers I've drawn for 'The New Yorker' - is the result of taking some personal experience or observation and then fictionalizing it to a degree.

It's always an amazing gift to be able to work with storytellers who 'get it' and who can not only draw anything but can draw it better and more dynamically than you'd ever envisioned.

I find it inspiring and I always think when I'm working on something new, whether it's a new kind of character or a new kind of story or new kind of camera, it gets my creative wheels spinning.

Everyone has a story, the air is full of stories. The creative process is mysterious, I don't know why it is that suddenly a theme will take hold of me and refuse to leave me in peace until I investigate it and write it.

There is always something of the writer in the work but I don't think Melville had to be swallowed by a whale to write a great novel. If I had lived the lives of all the characters of the songs I've written, that would truly be an extraordinary story.

When I'm drawing a bottle or a town or a market, I transport myself there. So I start drawing everything that I'm looking at while I'm there. Here's a guy selling the meat, and he will have a hook, and you start adding things, and it's a lot of fun.

I enjoy logic and logic puzzles. And filmmaking is one fun logic puzzle that you gotta win.

It's a little bit like talking about the life of writing. The life of writing may be about many things, but it always begins with the writer. With the kernel of an idea, or a character, or an idea or a theme, or even an outcome. But for documentary photographers, photographs begin at that intersection of the real world and the imaginative inner world.

When I was living in Mexico, I started reassessing my drawing style, and plunged into a period of doing exercises and research to develop a new way to draw. The result was a style that implies more than it shows, and so, ironically, feels more "true" to the scene I want to draw than a style that is more specific. It seems to me that the reader's imagination is able to fill in the gaps more effectively than I ever could. Plus it's a lot faster and more fun to do.

I'm not thinking much about overall themes or preoccupations or anything like that. Instead I'm just trusting that, if I'm working hard, various notions and riffs and motifs and so on are very naturally suffusing the stories and the resulting book.

Miyazaki has a great talent, but I really struggle every time I create a new film and am far from Miyazaki.