My 20s were peaceful, privileged, but still I felt the desire to write angsty dramas.
From Adrian Tomine
I wanted to be as invisible as possible as an artist. I wanted to differentiate between myself and who I'm writing about.
New York is a brutally expensive place to live, and the kind of person who might have the dedication and esoteric taste to make the comics that I would really love is finding it more relaxing to live elsewhere.
I love the idea of trying to do the work of old-fashioned novelists of plotting and of really making you curious about what's going to happen next and all that, but also trying to load it up with your weird thoughts and opinions.
For a long time, I was very resistant to the idea of online publication or even e-books or something like that.
The basic work schedule for me is whenever I'm not doing anything more important, like taking care of my kids or something. So, it's most of the day, five days a week, most evenings and sometimes on the weekends.
'Drawn & Quarterly' has always given me complete editorial control over my books and comics, so any decision about what to include or exclude from the book was my own.
There's a lot of books that I've purchased simply because of the cover design. On the other hand, there's certain books that, even if I'm very curious about the content, I can't bring myself to buy if I really dislike the cover.
'Peanuts' is a life-long influence, going back to before I could even read.
In general, daily strips were just a regular part of my childhood. So even if I wasn't a huge fan of most of those strips, I still read them religiously every morning while I ate my cereal.
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