Quotes of All Topics . Occasions . Authors
I think it is unnatural to think that there is such a thing as a blue-sky, white-clouded happy childhood for anybody. Childhood is a very, very tricky business of surviving it. Because if one thing goes wrong or anything goes wrong, and usually something goes wrong, then you are compromised as a human being. You're going to trip over that for a good part of your life.
I was sickly as a child and gravitated to books and drawing. During my early teen years, I spent hundreds of hours at my window, sketching neighborhood children at play. I sketched and listened, and those notebooks became the fertile field of my work later on. There is not a book I have written or a picture I have drawn that does not, in some way, owe them its existence.
If there's any advice I have to give, I would say it's that. If you're looking for a way to get closer to your kids, there ain't no better way than to grab 'em and read. And if you put them in front of a computer or a TV, you are abandoning them. You are abandoning them because they are sitting on a couch or a floor and they may be hugging a dog, but they ain't hugging you.
In terms of e-books, though, I haven't quite gotten to the bottom of it yet, but for some reason everybody I know seems to want to engage me on that topic, or convert me. I think there are a lot of people who just want to hear me embrace e-books or finally say, 'OK, I bought an iPad and it's awesome!" There are a lot of people who would get a kick out of it, that's for sure.
We could have made it to the Arizona border in a few more hours if we hadn't been distracting each other with stupid little arguments. Don't get me wrong; I liked J.Lo fine. I've made that bed. But I'm not sure there's a person in the world I could be with twenty-four hours a day for three weeks without getting a little snippy. If I ever meet such a person, I'm marrying them.
If I have an unusual gift, it's not that I draw particularly better than other people - I've never fooled myself about that. Rather it's that I remember things other people don't recall: the sounds and feelings and images - the emotional quality - of particular moments in childhood. Happily an essential part of myself - my dreaming life - still lives in the light of childhood.
A lot of times it's the child that sees something and not the grownup. I love that because, when readers get older, they start looking for the most important ideas in the story. They don't look at things in the same way anymore. Children haven't really learned to do that yet. They take all their great, intellectual skills, look at the full page, and appreciate all of the different things.
Grown-ups desperately need to feel safe, and then they project onto the kids. But what none of us seem to realize is how smart kids are. They don’t like what we write for them, what we dish up for them, because it’s vapid, so they’ll go for the hard words, they’ll go for the hard concepts, they’ll go for the stuff where they can learn something. Not didactic things, but passionate things.
The power of both myth and art is this magical ability to open doors, to make connections - not only between us and the natural world, but between us and the rest of humanity. Myths show us what we have in common with every other human being, no matter what culture we come from, no matter what century we live in. . .and at the same time, mythic stories and art celebrate our essential differences.
Basically, I know there's no turning back the clock, and it's sort of pointless to mourn what has passed, but I don't know if the alternatives now really replicate the learning experience that I had, in terms of what I gained from making mini-comics. There were certain components of it that are completely gone because of being able to just throw stuff up on your blog the minute you're done with it.
Some people may contend that there is no image more charming that a child holding a puppy or kitten. But for me that's a distant second. When I see a child clutching a book... to his or her tiny bosom, I'm moved. Children can possess a book in a way they can never possess a video game, a TV show, or a Darth Vader doll. A book comes alive when they read it. They give it life themselves by understanding it.
Part of what I feel is that the so-called bad fairies are really only there to get you to pay some attention. They trick you up until you're lying flat on your back and you literally have another point of view. They're about loosening up being rigid. They trip you over to break the barrier between you and the world. So their so-called "badness" actually can be quite instrumental in helping you with things.
I'm interested in the parallel narrative of our fantasy lives. How the moment of 'now' that is palpably real, is surrounded by our memories, our dreams and hopes, the stories and connections that our brains make as we navigate a universe of fantasy, or unreality, or surreality. I'm keen to explore this very human experience, how our minds create our own realities, a blend of fact and interpretation of fact.
The idea of going to the movies made Hugo remember something Father had once told him about going to the movies when he was just a boy, when the movies were new. Hugo's father had stepped into a dark room, and on a white screen he had seen a rocket fly right into the eye of the man in the moon. Father said he had never experienced anything like it. It had been like seeing his dreams in the middle of the day.
PhotoShop is a program I use all the time with my 2D stuff. And that's an extraordinary program - you really can do anything there, and I've never hit my head on the ceiling. The 3D stuff is incredibly complicated, monstrously complicated, but for the things that I want to do, I've found very simple and interesting ways, I hope, of making images without getting tied up too much in the maps and technicalities.
Why do women want to dress like men when they're fortunate enough to be women? Why lose femininity, which is one of our greatest charms? We get more accomplished by being charming than we would be flaunting around in pants and smoking. I'm very fond of men. I think they are wonderful creatures. I love them dearly. But I don't want to look like one. When women gave up their long skirts, they made a grave error.
YOU have no room to laugh, that's all. I'm not doing any worse with Boovish than you did with English.' Get off of the car,' J.Lo huffed. 'I am an English superstar.' Uh-uh. There's no comparison. 'Gratuity' in written Boovish has seventeen different bubbles that all have to be the right size and in the right place. 'J.Lo' in written English only has three letters, and you still spelled it 'M-smiley face-pound sign.
What I love about Inuit carving is that it's so narrative, but it doesn't have the temporal dimension of an illustrated picture, where it feels like something happens before or after. Everything is happening in the sculpture, and you can hold the whole story in your hand. A lot of these sculptures are small enough that you can hide them in your hand completely so you're not looking at them, you're just feeling them. I
Yes, we all know that there's a good chance the missiles won't work properly when the government people finally come to get them, but over the years we've stopped worrying about that. Deep down, most of us feel it's probably better this way. After all, if there are families in faraway countries with their own backyard missiles, armed and pointed back at us, we would hope that they too have found a much better use for them.
Ask of me, and I shall give thee the heathen for thine inheritance, and for thy possession, the ends of the earth. Thou shalt break them with a rod of iron. Thou shalt dash them in pieces, like a potters vessel. Be wise now therefore, ye kings. Be admonished, ye judges of the earth. Serve the Lord with fear, and rejoice with trembling. Kiss the son lest he be angry, and ye perish in the way, though his wrath be kindled but a little.
There are so many comics about violence. I'm not entertained or amused by violence, and I'd rather not have it in my life. Sex, on the other hand, is something the vast majority of us enjoy, yet it rarely seems to be the subject of comics. Pornography is usually bland, repetitive and ugly, and, at most, 'does the job.' I always wanted to make a book that is pornographic, but is also, I hope, beautiful, and mysterious, and engages the mind.
And with this sort of increased visibility, there's more money going around in the industry, and it changes a lot, in terms of who gets into the business as a creator, who sticks with it, and who gets pushed out. And I do think it's sort of too bad that what once was a safe haven for truly eccentric, outsider artists is no longer that thing. But there are definitely pros and cons. You could also look at it as bringing in a more diverse crowd.
When I was young I drew constantly in my sketchbooks to learn to see things. My first teacher in school, Gilbert Stone, taught me that you have to see things as they are first. Then you can distort, exaggerate, or re-create the world. I sketch in a small, unobtrusive sketchbook or on any paper at hand. I write on canary yellow tablets or any scrap available. I'm constantly doodling, even while editing my kids' homework, much to their chagrin!
But actually making pictures to look like my pictures, I've done it for so long, I'm kind of used to it now. So at the beginning of the process, designing and storyboarding everything, I sort of did all that. And then designed the characters, and doing the textures for the characters, and the texture maps to cover all the animated characters and the sets, I did those, because that's where my sort of coloring and textures get imprinted on the film.
Sejal had not thought of her home, or of India as a whole, as cool. She was dimly aware, however, of a white Westerner habit of wearing other cultures like T-shirts—the sticker bindis on club kids, sindoor in the hair of an unmarried pop star, Hindi characters inked carelessly on tight tank tops and pale flesh. She knew Americans liked to flash a little Indian or Japanese or African. They were always looking for a little pepper to put in their dish.
I kind of enjoy the limits. If you've got no limits, you can do absolutely anything, it's very difficult, actually. I always enjoyed working with machines like color photocopiers and letter-pressing type settings, things where the limits are very apparent. You push the machine to do something, and it tries to do its best, and it usually has wonderful qualities all of its own. Then you get a sort of dialogue going, and the limitations become qualities.
Just in terms of being able to be a professional artist, but also it's nice to not have to dread introductions. "What you do for a living?" It used to be easier just to tell people that I was a magazine illustrator than try to explain that I did comics, but not the kind of comics that they were used to, and no, it's not pornography, etc. And now people even of our parents' generation are familiar with the term "graphic novel," which is kind of amazing.
Ben remembered reading about curators in "Wonderstruck", and thought about what id meant to curate your own life, as his dad had done here. What would it be like to pick and choose the objects and stories that would go in your own cabinet? How would Ben curate his own life? And then, thinking about his museum box, and his house, and his books, and the secret room, he realized he'd already begun doing it. Maybe, thought Ben, we are all cabinets of wonders.
Students generally have very little idea of the world they are entering into, and their teachers - like parents - are viewed as beings who alternately guide and admonish; rarely are those teachers viewed as individuals or is their professional standing considered. It is usually only afterward, when young people encounter real-life situations in their chosen professions that they sometimes learn (if they are lucky) that they studied with one of the greats.
The 'Cercle et Carré' group owes its existence to my encounter with the Uruguayan painter Torrès-Gracia in 1929... However difficult our relationship, his obstinacy matching my patience, this unholy team of fire and water was bound to produce something. Towards the end of the year, after consulting sundry artists, including Arp, Mondrian, and Van Doesburg, we drew up the program for a new group and launched a magazine which was be called 'Cercle et Carré'.
I just don't think that being unable to forgive someone is the most healing move. It can be, and I've had times in my life when I thought I would be better off without the drama that another person was bringing to me, but cutting someone out isn't always the answer. I know someone who cut her mother out and it didn't magically heal her. She's still haunted. It's not as if you can wipe clean all of your memories of having a mother, or wanting or needing one.
An illustrator in my own mind - and this is not a truth of any kind - is someone who so falls in love with writing that he wishes he had written it, and the closest he can get to is illustrating it. And the next thing you learn, you have to find something unique in this book, which perhaps even the author was not entirely aware of. And that's what you hold on to, and that's what you add to the pictures: a whole Other Story that you believe in, that you think is there.
As the Little House settled down on her new foundation, she smiled happily. Once again she could watch the sun and moon and stars. Once again she could watch Spring and Summer and Fall and Winter come and go. Once again she was lived in and taken care of. Never again would she be curious about the city... Never again would she want to live there... The stars twinkled above her... A new moon was coming up... It was Spring... And all was quiet and peaceful in the country.
Then one day my sister abandoned me at the 1939 World's Fair, and that incident is the essence of In the Night Kitchen. I was standing there with hundreds of other people waving back at the little midgets dressed like bakers when I turned around and my sister was gone! The next thing I know I'm screaming and crying and policemen are taking me to a big place with tons of kids who had all been abandoned like me. At least I was old enough to give them a name and an address.
I had lost my sister recently, too, which meant that my whole family was gone. I was the baby of the family. There were five Sendaks and there were five Wild Things, and now there's only one Sendak, and he's about to bite the dust, too! Life, as I said before, was very difficult at that time and so it was natural that there would be a change in the look of things. Also, I was very impressed with my own strength in doing this under the circumstances in which I was living.
When I illustrate a cover or a book, I draw upon what the author tells me; that's how I see my responsibility as an illustrator. J.K. Rowling is very descriptive in her writing — she gives an illustrator a lot to work with. Each story is packed full of rich visual descriptions of the atmosphere, the mood, the setting, and all the different creatures and people. She makes it easy for me. The images just develop as I sketch and retrace until it feels right and matches her vision.
For my father the one calamity was that my brother and sister and I never learned to swim. My father, who was very macho, was a strong swimmer and was terribly disappointed to have children who didn't swim. Once when my mother was sitting in a beach chair - I can still see the big umbrella - she called to my father, "Throw them in! Throw them in! They'll swim!" So he did. Then he looked down, and there were the three Sendak children lying perfectly still underwater, not fighting for life!
In its jolly mission to expose the dark underbelly of the children’s book world, Wild Things! turns up stories I’ve been hearing noised about for ages, but with a lot more detail and authenticity. The stories may not be quite as sordid as my own imagination had conjured up—although a few of them are—because there’s no denying that this field is full of mostly nice people!—but it’s all fun and a great read for anyone interested in both children’s books and the collection of people who make them.
We could speak about the meaning of life vis-a-vis non-consequential/deontological theories, apodictic transformation schemata, the incoherence of exemplification, metaphysical realism, Cartesian interactive dualism, revised non reductive dualism, postmodernist grammatology and dicey dichotomies. But we would still be left with Nietzsche's preposterous mustache which instills great anguish and skepticism in the brain, which leads (as it did in his case) to utter madness. I suggest we go to Paris instead.
I'm often wary of using the word 'inspiration' to introduce my work -- it sounds too much like a sun shower from the heavens, absorbed by a passive individual enjoying an especially receptive moment. While that may be the case on rare occasions, the reality is usually far more prosaic. Staring at a blank piece of paper, I can't think of anything original. I feel utterly uninspired and unreceptive. It's the familiar malaise of 'artist's block' and in such circumstances there is only one thing to do: just start drawing.
Anytime that is ‘betwixt and between’ or transitional is the faeries’ favorite time. They inhabit transitional spaces: the bottom of the garden, existing in a space between manmade cultivation and wilderness. Look for them in the space between nurture and nature, they are to be found at all boarders and boundaries, or on the edges of water where it is neither land nor lake, neither path nor pond. They come when we are half-asleep. They come at moments when we least expect them; when our rational mind balances with the fluid irrational.
I'm not writing anything out of some sense of obligation, or for marketing purposes. This is just what I prefer to write. Even though I write mostly for kids, I'm not out to teach a moral lesson or present a guidebook for life. My primary goal as a writer is to create fun, entertaining books that present interesting ideas and themes, so kids can have a break from the stresses of their lives. I got a fan letter once from a girl who said one of my books made her feel good about herself, and if there's anything I'm reaching for, it's that.
Once a little boy sent me a charming card with a little drawing on it. I loved it. I answer all my children’s letters — sometimes very hastily — but this one I lingered over. I sent him a card and I drew a picture of a Wild Thing on it. I wrote, “Dear Jim: I loved your card.” Then I got a letter back from his mother and she said, “Jim loved your card so much he ate it.” That to me was one of the highest compliments I’ve ever received. He didn’t care that it was an original Maurice Sendak drawing or anything. He saw it, he loved it, he ate it.
There's also an immediacy to everything that has changed everybody's expectations. Now if I can't get a hold of somebody on their cell phone I'm, like, angry with them. And in my mind, all the things that I really value in terms of art, really good novels or films or comics, I know they all take a long, long time to create, and they take a lot of concentration and dedication...and I just feel like the training for that is becoming more and more rare when people are used to seeing things like YouTube clips, and being able to acquire things instantly.
I am not a religious person, nor do I have any regrets. The war took care of that for me. You know, I was brought up strictly kosher, but I - it made no sense to me. It made no sense to me what was happening. So nothing of it means anything to me. Nothing. Except these few little trivial things that are related to being Jewish. ... You know who my gods are, who I believe in fervently? Herman Melville, Emily Dickinson - she's probably the top - Mozart, Shakespeare, Keats. These are wonderful gods who have gotten me through the narrow straits of life.
Art has always been my salvation. And my gods are Herman Melville, Emily Dickinson, Mozart. I believe in them with all my heart. And when Mozart is playing in my room, I am in conjunction with something I can’t explain — I don’t need to. I know that if there’s a purpose for life, it was for me to hear Mozart. Or if I walk in the woods and I see an animal, the purpose of my life was to see that animal. I can recollect it, I can notice it. I’m here to take note of. And that is beyond my ego, beyond anything that belongs to me, an observer, an observer.
Well, I do expect a lot of myself. I'm a harsh critic because I know what I'm capable of. I have hit those occasional peaks amongst the valleys, but the peaks are so few-things like genuine flashes of virtuoso brush inking, like I've never executed before or since-I can count on one hand the number of jobs where I've been able to hit that mark. The same with penciling. Sometimes it just flows, but more often than not, it's pure physical and spiritual torment just to get something decent on paper. I often get very discouraged with the whole creative process.
I do very, very, very simple, skimpy doodles, nothing too committed. Because people tend to fall in love if they like it - if you color it in and they like it, then they want exactly those colors, even if they were just indications. You really have to do it as simple as possible so they can concentrate on the idea and composition. And then all of the energy goes into making the final piece. And the final piece can be anything - it can be a drawing, a painting, a collage - and usually, it's obvious what that should be. Usually, the idea dictates what medium you use.