Quotes by Bill Sienkiewicz

• 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.
• Cartooning is an honorable thing.
• So there's kind of a simultaneous aspect to pushing the boundaries, and being very safe.
• I want to say 90% of stuff out there is just crap that got made. The main point is that it got produced.
• I still love a lot of the guys who just paint.
• I didn't want to feel constrained, so I took on the Mutants.
• For a while I felt very alone; sort of out there in the world of comics, especially here in the States.
• Especially with Elektra, because I'm doing a lot of the covers for the new version of Elektra.
• I wanted to learn how to paint rather than just doing black-and-white work.
• Comics are really my life blood in a lot of respects.
• I was lucky enough to be given books that weren't top sellers; books that were kind of under the radar.
• But with comics you're reading and assimilating an image simultaneously, instead of just reading or watching the tube.
• But there's still an avenue for smaller comics and personal expression.
• But if I really want to produce my own work and tell stories, then I will.
• 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.
• And that, to me, is the main attraction to comics. It's an avenue to say what you want to say.
• And I've never viewed comics as assignments for the client.
• After that I jumped, especially being in art school, to the illustrators.
• Do the story in the way it really demands to be done, which may mean using several different styles or only one style; but it's still about respecting the story.
• 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.
• To me, the technique was almost irrelevant; it was what was coming across.
• To me, that's one of the things that I love about doing this stuff. One day I can work on this piece in watercolor, and then work on something else on the computer, or work on something else that's a completely different approach.
• There is a whole generation of people who are going to see movies or watch TV who don't want to work.
• That was a real learning element for me, because I realized that the more true you are to yourself, the more you will lose people.
• So, when the special effects are at the service of the story and draw you into it, that is really the magic.
• So much of Jaws was amazing because the mind filled in what was missing.
• I wanted to be complete, because I figured that, visually, there was an avenue to explore with painted stuff.
• So cartooning, for me, is an honorable thing. It's pushing the envelope. It's the truth of something through exaggeration.
• You're telling the story, creating the sets, doing the lighting, the designing, and establishing the pace.
• One of the problems I have with a lot of movies these days is that everything is too well lit. In the world of digital creations there is a tendency to show too much.
• Nothing is really media driven or committee driven, so you can actually just produce something.
• 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.
• Kyle Baker's work is really funny, but it's also got a very clear vision.
• 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.
• If you're going to establish a certain level of unreality than you have to deal with it.
• If somebody can inspire me, it feels really special.