Bill Sienkiewicz Quotes

But I’m aware of the fact that I’m working in a commercial venue where I’m producing something that I wouldn’t normally be approaching the way I’m doing it.

If somebody can inspire me, it feels really special.

You’re telling the story, creating the sets, doing the lighting, the designing, and establishing the pace.

To me, the technique was almost irrelevant; it was what was coming across.

I want to say 90% of stuff out there is just crap that got made. The main point is that it got produced.

So I look at a lot of stuff now that I did and some of it looks tame to me, but my interest in terms of what I want to say with it is a little different.

I didn’t want to feel constrained, so I took on the Mutants.

Like Godfather, you look at a movie like that, or something that James Gray has directed, a film with minimal or pin lighting as opposed to everything being lit bright and flat, where everything is evident.

I was lucky enough to be given books that weren’t top sellers; books that were kind of under the radar.

But there’s still an avenue for smaller comics and personal expression.

I wanted to learn how to paint rather than just doing black-and-white work.

So there’s kind of a simultaneous aspect to pushing the boundaries, and being very safe.

So, when the special effects are at the service of the story and draw you into it, that is really the magic.

But if I really want to produce my own work and tell stories, then I will.

People who can pull you in and take you on a journey, as opposed to simply adding flash. Again, that feels very clinical, and I don’t respond to that the way I used to.

I still love a lot of the guys who just paint.

But with comics you’re reading and assimilating an image simultaneously, instead of just reading or watching the tube.

So much of ‘Jaws’ was amazing because the mind filled in what was missing.

Nothing is really media driven or committee driven, so you can actually just produce something.

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.

After that I jumped, especially being in art school, to the illustrators.

If you’re going to establish a certain level of unreality than you have to deal with it.

Especially with Elektra, because I’m doing a lot of the covers for the new version of Elektra.

And that, to me, is the main attraction to comics. It’s an avenue to say what you want to say.

For a while I felt very alone; sort of out there in the world of comics, especially here in the States.