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I really appreciate Frank Ocean's lyrical style, I appreciate the way that he can kind of draw you into this personal space, but it's still lyrical. It's almost poetic, in a way, but it's very personal at the same time.
Cartooning is for people who can't quite draw and can't quite write. You combine the two half-talents and come up with a career.
When I draw something, the brain and the hands work together.
I did 13-something years of talking to wrestlers and promoters about why they did certain things and why they booked matches a certain way and what they were thinking and whether they were satisfied with the draw. And I got a lot of insight in the business.
People, even independently minded people, do to an extent draw their impressions from what they are told, especially if they are told it incessantly by newspapers.
I don't like to write rhetorically or get on a soapbox. I try to make the stuff multi-layered, so that it always has a life outside its social context. I don't believe that you can tell people anything; you can only draw them in.
I was, like, a total cliched '80s child. I had Barbies, obviously, as well as My Little Ponies and Cabbage Patch Kids, but I used to destroy them. I used to draw all over their faces and cut off their hair.
I also paint, draw and I'm into film and photography as well, and the same thing applies to all of them. You're presenting this material to the general public and hoping that they're going to 'get' what you're doing. Some don't, some do.
It's a great thing, for someone to feel that they can draw inspiration from you.
That's what I've been trying to strive for - to draw a clear picture, to open up a new dimension.
A longbow takes a massive draw for the arrow to go anywhere.
I give thanks for the fact that I can get this stick with a bit of steel nib on the end, dip it in some black carbon stuff, and draw on paper. Now, people did it the same way 2,000 years ago. And there's something lovely about that play, and making mud pies and a mess. That's a lovely privilege.
I've never been opposed to nudity. I've been opposed to nudity for box-office draw.
My issue in the past with nudity was that these scenes had been written solely for box office draw.
To be a comedian, you have to have some darkness behind it. I certainly draw on my past, and it helps.
Having an intelligent secretary does not get rid of the need to read, write, and draw, etc. In a well functioning world, tools and agents are complementary.
With animation, because you can draw anything and do anything and have the characters do whatever you want, the tendency is to be very loose with the boundaries and the rules.
When you are little, you will draw pictures for no reason.
As much as I know people love the method and what you can draw out of yourself, a lot of acting is very imaginative.
I draw a weekly comic strip called Life in Hell, which is syndicated in about 250 newspapers. That's what I did before The Simpsons, and what I plan to do for the rest of my life.
The story drove the book. That had a very seminal effect on the way I saw writing and storytelling. If you can set a character in a story that is compelling and has a backbone, you draw people in.
I never have a plan of what I am going to draw.
I was unable to sleep and I would stay up and draw these little cartoons. Then a friend showed them around. Before I knew it I was a cartoonist.
I actually started as a model builder and quickly progressed into production design, which made sense because I could draw and paint. But I kept watching that guy over there who was moving the actors around and setting up the shots.
Texas is a country in its own. It's made up of half Mexico/half United States but completed mixed. I don't mean to draw a generalization but it is a place, a territory, that's really made up of all these encounters, you know?
Gael Garcia Bernal
Martin Luther King, Jr.
C. S. Lewis
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