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A full, rich drawing style is a drawback.
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A lot of people write angry letters saying Zippy is stupid and that's why they don't get it: because it is stupid.
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All life is a blur of Republicans and meat.
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Are we having fun yet?
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At this point it's kind of a faded, tattered dream, but over the years there was some serious effort and a lot of serious money spent to make a movie.
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Before I started doing Zippy I had an early encounter with a Pinhead in 1969.
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But now with technology I could sit down and do a bunch of character drawings and scan them into a computer, and the computer using my exact style could bring it into life, where it would have been edited by various human beings before.
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Cartooning has come a long way. It started out as an adult medium, for satirical purposes; then the appeal to children got emphasized.
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Comics is a language. It's a language most people understand intuitively.
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Everybody that loves Nancy loves it in a slightly condescending way. Nancy is comics reduced to their most elemental level.
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Everyone says how Calvin and Hobbes is about a real kid, to me there's nothing real about it; it's an adult using a kid's body as a mouthpiece.
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Frivolity is a stern taskmaster.
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His observations are almost an obsession. He's very neurotic, full of self-doubt, which he masquerades as being critical of everything.
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I always thought of Levittown as a joke.
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I grew up on Long Island, and my wife and I had always talked about coming back East some day and living in the country.
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I guess if you take yourself seriously as an artist there starts either the problem or the beauty of doing good artwork.
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I had a mixture, my father was a career army man and my mother was a writer.
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I had a very diametrically opposite set of parents.
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I hate Calvin and Hobbes. I think its a big re-hash of formula kid strips.
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I just accepted provolone into my life.
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I just became one with my browser software.
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I think Zippy is part of me, but I'm not Zippy.
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I went through nine drafts of a screenplay; it had a whole plot, not just vignettes. Right now I'm getting a lot of feelers from animation companies.
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I went to an art school in Brooklyn and painted Fine Art, if that's what you'd call it for eight years in New York, until I saw the first underground comics in the East Village Other.
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I'm trying to shine a light on things that are recognizable in all of us, that Zippy embodies, that once we admit to, maybe we can laugh at.
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I've known Crumb for twenty-five years and no movie could affect my opinion of him.
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If someone asks me, am I Zippy or am I Griffy, I just say, basically, they're both me.
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If something is going on in my life, it winds up getting into my strip.
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In any comics, any animation, the artwork should be as important as anything else.
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In making my strips the inspiration is really only the germ of something, they say it's 99% perspiration, 1% inspiration.
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Jazz, rock and roll, movies and comics are the culture of America.
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Looking back Little Lulu was an early feminist, but at the time I just thought she was a really feisty developed comic strip character.
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Mike Judge, who I've become friends with over the years never took himself seriously as an artist.
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MTV won't do anything unless they own it 100% so that didn't tempt me at all because I would never give away the character.
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My first character was Mr. Toad.
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No, I like The Simpsons, although when I first saw it I was repulsed by the artwork.
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She encouraged any artistic impulse I had, and my father discouraged any artistic impulse I had. They took out their problems with each other on me and my sister.
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Sometimes when people read Zippy they're expecting it to fall into the same formula as some other comics. That's not what I do.
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The down side of Americans being obsessed with pop culture is that they kind of like it light.
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The phrase is supposed to be satirical, but lots of people don't see the subtext.
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The wise guy inside me trimphed over the artiste.
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Their scrambled attention spans struck me as a metaphor for the way we get our doses of reality these days.
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Then I abandoned comics for fine art because I had some romantic vision of being like Vincent Van Gogh Jr.
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Unfortunately what came out of it was also kind of an imitation community with a lot of mindless conformity.
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Well, I've done a lot of strips since I've been here about Zippy and me being in Connecticut.
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What I do is draw but if you make an animated feature obviously it takes a whole team of people, and Zippy is my work. I felt that turning it over to a team of people would be wrong.
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When drugs came around I sampled them just like anybody else but I never became dependent creatively on drugs; like various cartoonists in the underground never did anything if they weren't stoned, That was the prerequisite for sitting down and drawing.
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When I was an art student in the early 60's before the acid scene began I was smoking pot just like anyone else who was an artist.
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When the Zippy movie first started being talked about very rarely would people actually say animation to me, because I would never consider it.
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Yes, but personally I was never a big acid head.
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Zippy accepts chaos as what it is, which is the real order of everything.
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Zippy has no problem with the irrationality of the universe, whereas most of us are desperately trying to make order out of the universe, and our lives.
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Zippy is living in the moment.
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Zippy is living in the moment. He's at peace with himself because he's out of step with everyone; he doesn't know it, and he doesn't care.
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Zippy's non-sequiturs aren't really non-sequiturs. It seems like he's stringing together non-related thoughts but that's not really what's happening. You can decode almost all of it if you give it a little effort.

Biography

Bill Griffith (born 1944) is a popular cartoonist best known for his panel cartoon Zippy the Pinhead. Griffith was a prominent cartoonist in the underground comics movement based out of San Francisco in the late 1960s, and along with Art Spiegelman, Griffith co-founded the comics anthology Arcade.

Quotes


* "I also dislike Calvin and Hobbes. I think its nothing much more than a re-hash of formula kid strips. Everyone says Calvin and Hobbes is about a real kid, but to me there's nothing real about it; it's clearly the voice of an adult in a kid's body. It doesn't make much sense to me." (http://www.zippythepinhead.com/pages/aaishehavingfunyet.html)

...(more on Wikipedia)

This article is licensed under the GNU Free Documentation License. It uses material from the Wikipedia article "Bill Griffith".
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