I don't do a comic book thinking there is a movie. I just want it to be as good a comic book as it can be.
As a cartoonist, I'm a caricaturist. First you find out what somebody really looks like, and then you find out what they 'really' look like.
Interpretation
What this quote means
Frank Miller emphasizes the dual nature of representation in art, capturing both the reality and the essence of a subject.
In this quote, Frank Miller, a renowned cartoonist, reflects on the art of caricature, which involves distilling a subject's likeness down to its essential features. He highlights the idea that true art goes beyond mere appearance; it seeks to reveal deeper truths about the subject's character and personality, encouraging artists to look beyond surface impressions to portray the essence of who someone is.
Themes
In practice
Example use cases
In a speech about art at a local gallery, one might say, 'As Frank Miller said, we must find out what people 'really' look like to capture their true essence in our art.'
More from Frank Miller
All quotes βMy feeling is that the hero has now been defined by phrases like the odious one that we were all raised with - crimes does not pay. Of course it pays, you schmuck. That's not why we don't do it. We don't do it because it is wrong.
Hell's waking up every goddamn day and not even knowing why you're here.
The larger-than-life thing is definitely what I'm after. I've always drawn dark stories. Occasionally, I'll try a perfect hero, but it's a real stretch for me. I like 'em warts and all, and obsessive and weird.
Comic-book pages are vertical, and movie screens are relentlessly horizontal. But it's all the same form. We use different tools, but we get the job done. I'm completely in love with CGI. It's great for conveying a cartoonist's sense of reality.
You can't have virtue without sin. What I'm after is having my characters' virtues defined by how they operate in a very sinful environment. That's how you test people.
Similar quotes
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When you have a few cake formulas and filling ideas in your repertoire, you will find that it's pretty much an assembly job - you can mix and match a different way every time.
The word war itself has a kind of glazing abstraction to it that conjures up bombs and bullets and so on, whereas my goal is to try to, so much as I can, capture the heart and the stomach and the back of the throat of readers who can lie in bed at night and participate in a story.
They [photographs] teach you about your own unraveling past, or about the immediacy of yesterday. They show you what you look at. If you take a photograph, you've been responsive to something, and you looked hard at it. Hard for a thousandth of a second, hard for ten minutes. But hard, nonetheless. And it's the quality of that bite that teaches you how connected you were to that thing, and where you stood in relation to it, then and now.
Beauty is something that burns the hand when you touch it.
Aside from keeping the rain out and producing some usable space, architecture is nothing but a special-effects machine that delights and disturbs the senses.