Adrian Tomine Quotes

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I think that if you are looking at a comic that's made by one person, that there's just a level of intimacy that I don't really see anywhere else.

I started publishing my comic while I was still living with my parents.

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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.

I enjoy getting any kind of mail. Like, for me, like, the more interesting a letter is, I just get more excited, and I know that this going to be great for my friends who are looking forward to reading...

When I started publishing my work, one of the biggest surprises to me was the recurring question about my background and why I wasn't doing more stories about Asian-Americans.

On a very basic, concrete level, there have been times when my work, regardless of the content, has harmed relationships because I made that work such a primary priority in my life.

I really love New York, but I have to say, the humidity during the summer is a nightmare for a cartoonist. Not only am I sweating in my studio, my bristol board is curling up, the drafting tape is peeling...

When I'm sitting at my drafting table in my studio, I could really be anywhere.

If anything, I feel a bit of pressure to write about less disenfranchised people, because I'd probably sell more books that way and would've already had some hot property that I could've sold to Hollywood.

I do think that many Americans have a limited view of what constitutes Japanese cartooning based on what gets translated, so it's great to see an increase in diversity.

The story entitled 'Good-Bye' is probably Tatsumi's most well-known work, and I think it's a good representation of many of Tatsumi's skills and stylistic tendencies.

To be perfectly honest, if it was up to me, I would be invisible as an artist.

There's a part of me that feels like it gets really frustrating to keep working in the manner that I made the book 'Shortcomings,' where everything is pretty accurate to the real world.

I'm an unabashed fan of 'The New Yorker.' I do feel proud when I see my artwork in there.

All my stories take place on the West Coast - not the beach, but smaller inland towns. I feel homesick, and I find inspiration in capturing that.

'Shortcomings' was me figuring out who I am.

A lot of my fears come out in my work rather than life.

My responsibility is to present things in a way that is realistic and true to the multifaceted world I've known... This is how I think the world is, not how it should be.

I think comics can be the basis for great films, but I think the focus of such a project should be on making the film as good as possible, not on painstakingly replicating the comic.

There have been a handful of assignments over the years that I've had to turn down due to time constraints, and I was fairly envious when I saw the finished product, beautifully illustrated by someone else.

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