Adrian Tomine Quotes

But there's still an avenue for smaller comics and personal expression.

I got into underground comics fairly early on and kind of wandered away from the superhero stuff, but I was an art student and I was drawing a lot as a kid.

Yeah, I like to be the maker of the art. And I like and want the money. But I don't really dig being famous.

I've never done work for money ever. If your choices are based on grosses and the film doesn't do well, what does that mean? It leaves you with nothing.

Things improved a little bit in the '80s; there was kind of a revival of alternative comics, but then they went downhill in the '90s.

I've never chosen or rejected a role because of money.

When people say 'What are underground comics?' I think the best way you can define them is just the absolute freedom involved... we didn't have anyone standing over us.

I think I deliberately sold out a couple of times. I picked the songs that I thought would do well in the marketplace, even though I didn't really love the song.

It's embarrassing to be involved in the same business as the mainstream comic thing. It's still very embarrassing to tell other adults that I draw comic books - their instant, preconceived notions of what that means.

A lot of times, when artists are rushing to put out projects, it's on some financial tip because they want to make money. But for me, I'm not in any rush.

I don't tour to make money: I do it because I love it. When I'm putting a tour together, I'm not sitting with number-crunchers, having them tell me I can't do this or that.

I suppose we'll make money off our album and our singles and stuff, but, like, they were made as we wanted them, exactly with what we had to say, and done exactly how we wanted them, right? And, like, we didn't put them out to make money. We put them out because we wanted to do them, do you know what I mean?

Don't make music to make money, because that's not why you should be doing it. Have fun, be creative, and embrace the past.

Watching people like Brandon Graham, Erik Larsen, and Joe Keatinge produce stories for my characters was a revelation... Like, 'Why are you doing work for hire when others are working on characters you own?' 'Bloodstrike' and 'Brigade' is me re-focusing my focus!

The type of cartooning that I think is generally referred to as 'alternative' or 'underground' is usually - the distinction is usually in terms of whether it's made by one person, the entire thing is done by one hand or more of a production line process, which is how the comics that we grew up reading were made.

I would never refuse a film or do a film for a certain amount of money.

The method of producing comics in Japan is very hectic, but it's also rewarding because it's possible to do both the story and art all by yourself.

It's just an easy catchall to describe a style because there are a lot of alternative comics who are completely different from each other.

I didn't want to go there [America] at 34 years old and for people to say he's only going for the money. It's not what I'm going out there to do

For the person that wrote that, were they involved with anything last year that was as culturally significant as the Yeezus tour or that album? ... The bar was terrible, and the wedding planner didn't approve it with me. I was having issues with this wedding planner the entire time on approvals, and I get there and they threw some weird plastic bar there.

The issue is: $1 trillion or $2 trillion is a lot of money. If our objective is to have stability in the Middle East, secure oil, or extend democracy, you can do a lot of democracy buying for this sum. To put it in context: The whole world spends $50 billion a year on foreign aid.

I was denied a record contract for 15 years, so I'm not going to be too picky about what I do. I don't have the juice to say no too many times.

We have no obligation to make history. We have no obligation to make art. We have no obligation to make a statement. To make money is our only objective.

I'm back in fashion again for a while now. But I imagine that three or four years from now I'll be out again. And in another fifteen years I'll be back. If you try to write to stay in fashion, if you try to write to be the critics' darling, you become an employee.

When I found out after that first successful exhibition that the gallery wanted me to do another show like the first one, I come out two years later with four 6-foot drawings of classical nudes masturbating. The gallery director flipped the freak out!