Best 19 quotes of Dave Gibbons on MyQuotes

Comics are a particularly esoteric field where you really learn how to do it, by doing it or by learning from other practitioners.

Comics is all about making it believable and helping people to get completely lost in a fictional world.

Every bit as visceral and hypnotic as its award-winning predecessor, On the Ropes is a tour-de-force of fluid, yet detailed storytelling.

I always start drawing any job by planning out to some degree the locales and trying to nail the characters. If they're existing characters, I'll draw them several times on rough paper just to get a feeling for them. The ideal when you're drawing a comic is to have everything in your head, not to have to refer to notes.

I came to think that nobody from England could draw American comic books, because they were clearly all done by this sort of Mafia, all these guys with Italian and Irish names who had the whole thing sewn up. It was actually seeing a comic book drawn by Barry Smith, who was about my age, and English.

I don't think schooling of any sort really prepares you for real life. I don't know if art school would have prepared me to draw comics. Half of the people I know in comics went to art school, half of them didn't. Some of them went and dropped out.

If you're using a computer as an artist and expressing your personal vision, I think your personal vision comes through.

If you want to draw comics, you really have to love to draw, as you will be spending many hours sitting down with a pencil or pen in your hand.

I generally like very visually striking films. I love a lot of Stanley Kubrick's films. I would have to say 'Dr. Strangelove', which of course has got resonance in 'Watchmen'. It's a favorite movie of mine.

I'm known for being very enthusiastic about using technology. A lot of the attraction is the way that it streamlines the process and takes a lot of the drudgery out of it.

In God’s economy, vision should move from the fringes to the middle.

I really like it when you can step outside of what's come before and find a surprise for the reader and find a surprise for yourself.

I think with something like Watchmen you can genuinely call that a graphic novel because it has the weight and the intent of a proper novel and it also is the complete story.

People unacquainted with graphic novels, including journalists, tend to think of Watchmen as a book by Alan Moore that happens to have some illustrations. And that does a disservice to the entire form.

The original series of Watchmen is the complete story that Alan Moore and I wanted to tell. However, I appreciate DC's reasons for this initiative and the wish of the artists and writers involved to pay tribute to our work. May these new additions have the success they desire.

There's a thing with genre movies and science fiction movies that number two is the charmed; two seems to be the best. I loved 'Terminator 2.'

With the new game I'm going to be involved from the ground up. I have had story input and the whole thing will have my imprint on it. Even if I don't hands-on do every bit of artwork, I certainly will direct the look of the whole thing.

The lady who works in the grocery store at the corner of my block is called Denise, and she's one of America's great unpublished novelists. Over the years she's written forty-two romantic novels, none of which have ever reached the bookstores. I, however, have been fortunate enough to hear the plots of the last twenty-seven of these recounted in installments by the authoress herself every time I drop by the store for a jar of coffee or can of beans, and my respect for Denise's literary prowess knows no bounds. So, naturally enough, when I found myself faced with the daunting task of actually starting the book you now hold in your hands, it was Denise I turned to for advice.

Whether tales are told by the light of a campfire or by the glow of a screen, the prime decision for the teller has always been what to reveal and what to withhold. Whether in alone or with images, the narrator should be clear about what is to be shown and what is to be hidden.