If you’ll read the subtext for many of those old strips, you’ll find the heart of an old-fashioned Libertarian. And I’d be a Libertarian, if they weren’t all a bunch of tax-dodging professional whiners.
BERKELEY BREATHEDI paint digitally now. A pity, in some ways, as the biggest price one pays is that you no longer have a finished piece of physical art to hang on a wall. I miss that terribly.
More Berkeley Breathed Quotes
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I could draw Bloom County with my nose and pay my cleaning lady to write it, and I’d bet I wouldn’t lose 10% of my papers over the next twenty years. Such is the nature of comic-strips. Once established, their half-life is usually more than nuclear waste.
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The cartooning was always just an abstraction. It was an income. It was making me famous. It was allowing me to go and do other things that I’d wanted to do.
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I drew the last image ever of Opus at midnight while Puccini was playing and I got rather stupid. Thirty years. A bit like saying goodbye to a child – which is ironic because I was never, never sentimental about him as many of his fans were.
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Keep in mind that in 1985, I had a potential readership of over 50 million Americans. At that time, a good portion of those were under 30.
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A mind is a terrible thing. All this evolution nonsense is making me feel like a complete APE!
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I was never asked to join the Editorial Cartoonists Of America. No fraternity would have me in college, either. I think they know something.
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Harry Potter’ shouldn’t be children’s first experience with suspense and plot turns.
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It’s never too late to have a happy childhood.
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I happen to think nearly everybody – especially those one might find in the odd issue of ‘People’ magazine, including me – is frightfully boring, especially me. And Tom Cruise. Tom and I are alike in only this way.
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Cartooning is about deconstruction: you gotta tear something down to make a joke.
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I don’t get fan mail. It disappeared with the digital revolution.
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If I could have drawn a cat yelling for lasagna every day for 15 years and have them pay me $30 million to do so, I would have.
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The fan letters were mostly answered by professional people that’d done them for a living. And I didn’t have any daily connection with their response to my work. I didn’t have a relationship with my audience. And every artist should have it.
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That’s the conundrum of cartoon stripping, as opposed to political cartoons. When your anger is the driving force of your drawing hand, failure follows. The anger is OK, but it has to serve the interests of the heart, frankly.
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It’s not terribly dignified to have anyone seeing one laugh at one’s own material.
BERKELEY BREATHED