Quotes 1 till 20 of 25.
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A lot of comics aren't their on-screen personas; Chris Rock isn't always ranting and raving. What I do is make myself this over-the-top character that people either find endearing or they think is a joke. Then I can do anything I want.
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And that, to me, is the main attraction to comics. It's an avenue to say what you want to say.
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And then as I got older, see, I think a lot of times with comics, your life kind of permeates your act. Whatever is happening in your life is what's going on on stage. So if you're angry in your life, then that's going to be on stage. If you're looking for the guy that's just going to make you laugh for an hour and forget about, that's me.
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As a small kid, I came across things like these early Edward Gorey books in department-store bookstores. These were these really unusual objects to me. I didn't know how they fit into the comic world or into newspaper comics.
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At the Sahara, the seats are banked and most of the audience is looking down at the stage. Everybody in the business knows: Up for singers, down for comics. The people want to idealize a singer. They want to feel superior to a comic. You're trying to make them laugh. They can't laugh at someone they're looking up to.
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But with comics you're reading and assimilating an image simultaneously, instead of just reading or watching the tube.
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Comics is a language. It's a language most people understand intuitively.
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Everybody that loves Nancy loves it in a slightly condescending way. Nancy is comics reduced to their most elemental level.
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For a while I felt very alone; sort of out there in the world of comics, especially here in the States.
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Good comics gravitate to each other; you know who's your type of person by watching them onstage, hopefully.
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I love getting on You Tube to look at the old comics. I am in my element seeing guys like Jack Benny and Phil Silvers give interviews.
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I'm supposed to be making comics, so I had to do it the best way I knew how, which is what those guys at the beginning of the Twentieth Century were doing.
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In America, there's a very long tradition of a comic strip that comes in newspapers, which is not true all over the world. To sell papers, they put color comics in.
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In film, you have the luxury of accomplishing what you need in 24 frames every second. Comics, you only have five or six panels a page to do that.
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It got to the point in the late 70s and early 80s that I was spending so much money buying golden age comics that I could only justify it if I got work in the media.
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Like most comics, I tried to come up with a sitcom idea that was based around my life. And it didn't work out. But maybe because it didn't work out, that's why I ended up on 'Breaking Bad;' I don't know.
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Some comics really thrive on being disrespectful, especially toward women, and it's somehow understood as edgy, but I'm the opposite. I've never liked curse words for that reason.
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That was the appealing thing about comics: There literally is no budget in comics. You're only limited by your imagination.
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The quickest way to defuse fear or insecurity or anger is usually humor. I think comics figure that out quickly, and, once you figure it out, you think, 'Hey, if I can do this and get paid, that would be kind of cool.'
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Then I abandoned comics for fine art because I had some romantic vision of being like Vincent Van Gogh Jr.
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