Gary Dourdan Quotes

As a storyboard artist, you have to be able to draw anything.

All comic books take place in built environments, and I was very good at drawing people and animals, and stuff like that, but I hadn't spent much energy drawing buildings. So I thought, maybe I could, and then I became an architect.

I wanted to be a cartoonist. I was one of those kids who sat around and drew in my room all the time.

I've been taking art lessons since I was little, and I've always drawn. I think in pictures.

I'm a cartoonist. I write and draw comic books and graphic novels. I'm also a coder.

I mean when I was working shall we say with Disney, you know they sent me the script for the film Hercules and I had to imagine what all the characters looked like. And to develop those characters, so nothing exists visually when I get the script.

My first ambition was to be an animator for Walt Disney. Then I wanted to be a magazine cartoonist.

It wasn't until I discovered comics that I actually began to approach drawing as a possible career.

There are two men inside the artist, the poet and the craftsman. One is born a poet. One becomes a craftsman.

You know it's my job to visualize, what is literal or audible, so I designed all the characters, and I designed what they do and how they should do it and so on.

People who get into animation tend to be kids. We don't have to grow up. But also, animators are great observers, and there's this childlike wonder and interest in the world, the observation of little things that happen in life.

But to me what seems to be missing in a lot of portfolios is Cartooning.

I wanted to be a cartoonist when I was young.

In the case of 'Sweet Tooth,' and in the case of a lot of stuff I do, it all starts with the image. It may be something I sketch in my sketchbooks - something that reoccurs in the sketchbooks. Eventually, a character or story line starts to grow out of that.

I want to have the fun of doing anime and I love anime, but I can't do storyboards because I can't really draw and that's what they live and die on.

I wish I could draw.

I was certain when I was about 10 years old that I was going to be a special effects artist or a make-up man. I loved that stuff and pursued it for quite some time, actually.

You have to be creative. It's the basics. You can't be Picasso unless you know how to draw a real face; then you can turn it upside down.

The visual team of 'Blade Runner' - one of the last big fantasy movies to be made without much computer graphics finery - worked directly for Scott, who sketched each of his prolific ideas on paper (they were called 'Ridley-grams').

Whether you make an action blockbuster or a comedy or a drama, you've got the right camera and all the right technology to do it. In games, it's not the same yet, and I would like to see technologies dealing with cameras the way we do - dealing with bouquet, dealing with performance capture, with lighting - with all this stuff the way we do.

At 16, I was drawing cartoons, and I wanted to carry on being a cartoonist.

What happened in the early days of Disney is that Walt Disney used all of the new technologies as they came out. When matting came out, they adopted it. They adopted sound and color and xerography. Walt did that. And then, when he died, people began to think that this is just about making films, so they stopped bringing in new technologies.

I wrote a big animation scene for 'Iron Fists,' but we couldn't afford all that.

I'm always impressed with the work of animators. You have to be able to draw the scenes in between movements. I'm impressed with the way they can do that - I don't think I could.

I particularly like Alan Moore and Neil Gaiman. Both writers have wit and imagination and the breadth of stories they tell coupled with extraordinary artwork make for fascinating reading.