Brian Selznick Quotes

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

I think everything belongs in a certain place, for kids who feel they don’t belong anywhere. A museum is an institution like a library where everything has a place, everything belongs.

The orphan in children‘s literature allows the child protagonist to move the story forward themselves. I think that, however happy a family, every intelligent child thinks: ‘How did I come to be born to these parents?’ – it is about finding your place in the world.

A friend suggested that I get a job at a children’s book store so I could meet kids and read books, and that turned out to be the single best bit of advice I’ve ever gotten.

I guess I see a part of myself in everyone I write about. I tend to write about kids who are obsessed with something, and even though I have never been good with machines the way Hugo is, I did love miniature things when I was a kid.

I can draw pencil lines to show something is moving, but if I’m writing, I struggle with how to write it. The boy ran down the hallway? The boy ran quickly down the hallway? The boy ran down the marble hallway? I agonize over the words. So my editor works very hard. I’m lucky to have her.

I love illustrating for other writers because I am given stories I never would have thought of, and my work as an illustrator is always in support of the story.

I’ve always loved the wild rumpus in ‘Where the Wild Things Are’ by Maurice Sendak, because the words disappear, the pictures take up the whole page, and we move forward in the story by turning the pages.

I majored in illustration at the Rhode Island School of Design, although I never had any intention of being an illustrator and didn’t take any classes in illustration there. It was just that the illustration degree had no requirements.

What interests me about clocks is that everything is hand-made, and yet to the person looking at the clock, something magical is happening that cannot be explained unless you are the clockmaker.

I think from an early age I was aware of how a camera can tell a story, how a movie camera can affect how the narrative is told.

I think the most important thing you can do is to keep drawing no matter what. And to not be afraid of drawing whatever interests you. If there is something that you want to draw, to make, then I think you should pursue it and not let anybody tell you that you can’t do it.

But I’m a fairly mechanical worker – I tend not to think about themes so much as plot. I want to get the feeling right. If it’s moving through tunnels, I ask myself, what is it like to move through tunnels?

Once I’m given an idea for a story I have a million ideas on how it should be illustrated, but I don’t have a big shoebox full of unfinished ideas.

For most of my career I illustrated books for other people.