I have this certain vision of the way I want my comics to look; this sort of photographic realism, but with a certain abstraction that comics can give. It's kind of a fine line.

I must have been 3 years old or less, and I remember paging through these comics, trying to figure out the stories. I couldn't read the words, so I made up my own stories.

You can give some kind of spark of life to a comic that a photograph doesn't really have. A photograph, even if it's connecting with you, it seems very dead on the page sometimes.

I have this certain vision of the way I want my comics to look; this sort of photographic realism, but with a certain abstraction that comics can give. It's kind of a fine line.

When you see somebody who's got a complaining personality, it usually means that they had some vision of what things could be, and they're constantly disappointed by that. I think that would be the camp that I would fall into - constantly horrified by the things people do.

I love the medium and I love individual comics, but the business is nothing I would be proud of.

I was a very fearful little kid, and I would always see the worst in everything. The glass was half-empty. I would see people kissing, and I would think one was trying to bite the other.

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.

Even if I only had 10 readers, I'd rather do the book for them than for a million readers online.

For example, I noticed that every single kid in the high school in 'The Death-Ray' is based on somebody I went to high school with.

I don't read much of anything online.

I had no television when I was little, just a stack of old, beat-up comics from the 1950s and 1960s.

I tend to be the type who is overly polite and sort of ingratiating to other people.

I think I've had the fantasy of a ray-gun that could erase the world from the time I was a very little kid.

I think that's what we're all most terrified about: that we'll just die and disappear and we'll leave no trace.

I try personally not to be nostalgic.

I was 30 before I made a living that was not embarrassing.

I'm a fan of parchment and wood pulp.

I'm more interested in characters who are a little difficult.

I'm not opposed to comics on the Internet. It's just not interesting to me.

Nobody else feels the same way about your dog that you do.

People seem to need a likable protagonist more than ever.

Superman's always chasing after someone who just mugged somebody, and I've never seen that happen in my life.

That's the biggest part of doing comics: You have to create stuff that makes you want to get out of bed every morning and get to work.

Try letting a Kindle protect your heart from sniper fire!

Working on movies made me realize how fluid the medium of film was.

Yeah, I don't necessarily like endings that contrive an artificial moment of completion.

I was thinking the other day that there will never be another form of music that everybody has to respond to like disco.

You can never really trust someone who remembers every embarrassing detail of your adolescence.

I only understand realism.

But with The Dark Crystal, instead of puppetry we're trying to go toward a sense of realism - toward a reality of creatures that are actually alive and we're mixing up puppetry and all kinds of other techniques.

You achieve the surreal jokes through the realism by making it elastic.

I hate that which we have decided to call realism, even though I have been made one of its high priests.

We need realism to deal with reality.

My mother learned that she was carrying me at about the same time the Second World War was declared; with the family talent for magic realism, she once told me she had been to the doctor's on the very day.

Without any intended hubris, I've lead a pretty exciting life. What I've tried to do in Mission Compromised is draw on those experiences to create a sense of excitement and realism within the story.

I believe realism is nothing but an analysis of reality. Film scripts have a synthetical constitution.

Idealism is like a castle in the air if it is not based on a solid foundation of social and political realism.

Reviewers said Ghost Country was rich, astonishing and affecting in the way it blended comedy, magic, and a gritty urban realism in a breathtaking ride along Chicago's mean streets.

I have this certain vision of the way I want my comics to look; this sort of photographic realism, but with a certain abstraction that comics can give. It's kind of a fine line.

It has generally been assumed that of two opposing systems of philosophy, e.g., realism and idealism, one only can be true and one must be false; and so philosophers have been hopelessly divided on the question, which is the true one.

Hawthorne has given us a tradition that some people refer to as Yankee Magic Realism, and I do think there is a certain quality to the landscape that definitely leads into the dark woods.

I stopped making movies because I don't like taking my clothes off. Maybe it's realism, but in my opinion, it's utter filth.

In creating the Harry Potter artwork, I try to bring a certain amount of realism and believability to the characters and setting, but still add an element of wonder and the unknown.

Today, Democrats not only have the White House; they have the Senate too. So we have to be realistic about what we can and cannot achieve, while at the same recognizing that realism should never be confused with capitulation.

As writers and readers, as sinners and citizens, our realism and our aesthetic sense make us wary of crediting the positive note.

Hollywood always wanted me to be pretty, but I fought for realism.

Painting is the representation of visible forms. The essence of realism is its negation of the ideal.

Realism is not a matter of any fidelity to an empirical reality, but of the discursive conventions by which and for which a sense of reality is constructed.