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There are certain artists and filmmakers who, I get the impression, are trying to show off how bad their characters can be, how immoral their characters can be.

Adrian Tomine

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Adrian Tomine
Age: 50
Born: 1974
Born: May 31
Cartoonist
Comics Artist
Illustrator
Novelist
Sacramento
California
Trying
Impression
Artists
Characters
Show
Artist
Shows
Certain
Immoral
Character
Filmmaker

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Maybe you're not even in a position to really judge how good your kid is at that endeavor.
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I started publishing my comic while I was still living with my parents.
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It's psychologically a weird experience to be so aware of the fact that the real time of your life is moving much faster than the fictional time you're trying to depict. You start to feel very weighted down sometimes.
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I sense a real difference in my work from the time I was younger and single and more involved in the world of music and going out to bars and all that. There were points at which I was trying to use my art to reflect positively on myself, to almost be flirtatious through the work.
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I think a lot of the criticism had to do with disliking the characters - which, again, I take as something of a compliment.
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When email and the Internet came along, I never publish an email address. I just stuck with this P.O. Box address.
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I feel like if people are going to go to the effort to get a stamp and, you know, put it on an envelope that, you know, it's a big effort these days. So I often write back.
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If something's a little weird, it's Kafkaesque.
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When I talk to people who have teenagers now, their rooms are filled with screens. There are their phones and their DVD players and TVs and all these things to produce distractions for them, and I think it would be hard to find the time to create something. I think that's really changing something about adolescence.
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If you're changing diapers and going to the playground, any ambitions of being a cool guy have to fly out the window.
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I get the impression from some people that unless they get direct access to characters' thoughts and realizations, either through thought balloons or narrations or some sort of showy action, then those thoughts and realizations never existed.
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I think when I finally got it in my head that I was going to do the story, I wanted to avoid doing what I thought people wanted me to do.
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For a stretch of time, I got really caught up in the idea that what people liked about my work was that I was a young guy who was trying to be cool by writing about young people and a certain kind of Bay Area culture that I was tangentially a part of.
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I think, to its credit, this is one of the last forms of popular entertainment that I don't sense to be discriminatory in any way. I think there's this general hunger for greater diversity, where publishers are really excited about finding different voices than what has been done.
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It's important to make a distinction between becoming more precise and becoming better.
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There are some people who may not like precision in their art. They may like it to be grittier and more gestural, more of a direct expression in the way that a painter would put his strokes on canvas.
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I was just a guy who did adult or alternative comic books. And then suddenly to be, like, a New Yorker cover artist was a different thing.
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A lot of the kinship that people notice is not coincidental. I was very impressionable and trying to find my role models when I was twelve or thirteen.
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When people see me struggling on paper, I think it invites an almost collaborative relationship with the outside world, and that includes readers and other artists.
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I certainly wasn't consciously hiding my identity in the earlier work, though a lot of people have brought up the fact that I drew myself without eyeballs.
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