Daniel Clowes
Daniel Clowes
Daniel Gillespie Clowesis an American cartoonist, illustrator, and screenwriter. Most of Clowes's work first appeared in Eightball, a solo anthology comic book series. An Eightball issue typically contained several short pieces and a chapter of a longer narrative that was later collected and published as a graphic novel, such as Like a Velvet Glove Cast in Iron, Ghost World, and David Boring. Clowes’s illustrations have appeared in The New Yorker, Newsweek, Vogue, The Village Voice, and elsewhere. With filmmaker Terry...
NationalityAmerican
ProfessionAuthor
Date of Birth14 April 1961
CountryUnited States of America
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.
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.
You try to make the world a better place and what does it get you? I mean, Christ, how the hell does one man stand a chance against four billion assholes?
The trouble is the kind of guy I want to go out with doesn't even exist... Like a rugged, chain-smoking, intellectual, adventurer guy who's really serious, but also really funny and mean...
Believe it or not, the characters are all like people I went to art school with in the '70s.
When people get things for free, they tend to not take them as seriously.
Try letting a Kindle protect your heart from sniper fire!
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.
That'll be my claim to fame: My grandmother-in-law is the oldest iPad user!
When I close my eyes to draw I always think Chicago in 1975.
Working on movies made me realize how fluid the medium of film was.
Usually when I put together a book like this Death-Ray hardcover or that Ghost World special edition, then I have to reread it and see if there is anything I want to change or any re-coloring I want to do. That's when I'm faced with the actual work. When I'm working, I'm too close to it. I'm sort of inside, and I can't see it at all. So when I have that experience of rereading it years later, it's jarring.
I started drawing at a very young age. Writing a story wasn't satisfying, but to actually draw our own world - it's like controlling your own dreams.
Before I could read, I remember trying to piece together the stories from the images. It was a very primal experience.