So, when the special effects are at the service of the story and draw you into it, that is really the magic.
So much of 'Jaws' was amazing because the mind filled in what was missing.
And I've never viewed comics as assignments for the client.
I wanted to learn how to paint rather than just doing black-and-white work.
Do the story in the way it really demands to be done, which may mean using several different styles or only one style; but it's still about respecting the story.
And that, to me, is the main attraction to comics. It's an avenue to say what you want to say.
Cartooning is an honorable thing.
Comics are really my life blood in a lot of respects.
I want to say 90% of stuff out there is just crap that got made. The main point is that it got produced.
I was lucky enough to be given books that weren't top sellers; books that were kind of under the radar.
So cartooning, for me, is an honorable thing. It's pushing the envelope. It's the truth of something through exaggeration.
So there's kind of a simultaneous aspect to pushing the boundaries, and being very safe.
To me, the technique was almost irrelevant; it was what was coming across.
It's interesting, because in the corporate stuff there's a dichotomy there, depending on the creator. Even what, in essence, may be a very safe corporate approach, there is some stuff that is allowed to be pushed.
You're telling the story, creating the sets, doing the lighting, the designing, and establishing the pace.
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