Quotable Quotes - Gil Kane quotes

Gil Kane quotes

“All of the penciling was consistently done by one person and the inking was whoever could finish on time.” — Gil Kane

“As a matter of fact, from the time I was 15, I was going up to the comics offices.” — Gil Kane

“As a matter of fact, I didn't even have a drawing table or a light or anything because I never had a professional job in my life.” — Gil Kane

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“At Binder it was stiffer than it was at MLJ. At Binder they weren't happy with my stuff, and at MLJ, I got a foothold.” — Gil Kane

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“At that time Bob Montana had just started to create Archie for them because of the popularity of radio teenager Henry Aldrich.” — Gil Kane

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“Binder had had a relationship with the people up at Fawcett, and Fawcett started to turn out comic books with Captain Marvel.” — Gil Kane

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“But generally speaking, people weren't fired, art jobs were very hard to get, so something really calamitous had to happen to a person who was working there in order for you to find a space.” — Gil Kane

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“But I was also a big mouth, I started to develop a troubled relationship with Harry Shorten.” — Gil Kane

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“By the end of the '50s, everything began to collapse and, little by little, I lost all of my work. I lost Rex, the Wonder Dog and all the westerns.” — Gil Kane

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“Comics were going down for the second time and here, all of a sudden, came this thing and for the next fifteen years, romance comics were about the top sellers in the field; they outsold everything.” — Gil Kane

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“Coming into the business, you'd pass through these little agencies until you got to understand what was happening in the business, unless you were really able to have a style strong enough to go directly to the publishers.” — Gil Kane

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“DC used to print up all of their pages, they were the only company that did it.” — Gil Kane

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“Don't forget that the agents got a good portion of the page rate for himself. You only got dreck when you worked for an agent.” — Gil Kane

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“During my summer vacation, I went up and got a job working at MLJ in 1942 when Harry Shorten was the editor, and Scott Meredith nee Feldman was the associate editor.” — Gil Kane

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“Eisner and Iger used to pay salaries of $18 and $19 a week for people like Louie Fine.” — Gil Kane

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“Everything was sensory and I never saw the structure in anything.” — Gil Kane

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“First of all there was a guy named Charles Nicholas, who used to do all of the inking that Jack and Simon didn't do. Simon used to do splashes and covers, but Charles Nicholas, after a while, did the inside of all of the stuff.” — Gil Kane

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“George Russo was working in production there for about nine years, just inking and coloring, he was a superb colorist, and adventurous colorist. He had the only original panels I knew of Tarzan and Prince Valiant.” — Gil Kane

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“I just saw the emotion in everything, so I got to feel everything that was going on and that I was viewing, but I couldn't think in terms of structure, which is the whole point of deep focus.” — Gil Kane

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“I started working in production and I worked there for three weeks but apparently they thought I was making too much noise and they fired me.” — Gil Kane

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“I think the lack of precision and deep focus is why it took me years to build up my work.” — Gil Kane

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“I was 16 and I'd already started my last year but I'd already gotten my job the summer before at MLJ, so I didn't want to give up my job. I quit school in the last grade.” — Gil Kane

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“I was hired as a penciler.” — Gil Kane

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“I was hired to do as many Boy Commando, Newsboy Legion, and Sandman stories as I could.” — Gil Kane

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“I was not too smart and constantly mouthed off and didn't know anything.” — Gil Kane

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“I'd already been a fanatic of comics for years, so at 15 I started to go around to the various publishers where I met Kubert.” — Gil Kane

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“If I had one quality that really ruined me and at the same time helped me, it was the fact that I never stopped looking, and by that time I was really working at it.” — Gil Kane

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“In other words, DC was never harmed by the paper shortages.” — Gil Kane

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“Instead of hiring artists and going through the whole thing, they would do what Marvel did, which was that when Marvel started in business, they hired Lloyd Jacquet and his agency. They created the Human Torch and the Submariner.” — Gil Kane

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“Irving Novick came into comics from advertising, he hated comics, always held himself above it, but the economic situation was that there wasn't enough of that work out there, and all of a sudden there was this market.” — Gil Kane

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“It was exactly an assembly line. You could look into infinity down these rows of drawing tables.” — Gil Kane

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“Meskin, who was a superb artist, and at that time he was really rolling, used to look at that stuff and just eat his heart out because it was so strong.” — Gil Kane

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“Most of the publishers were impulse publishers - guys who worked as distributors and decided to go into comics.” — Gil Kane

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“Most of us came out of Popeye, so turning Popeye into something believable was tricky enough.” — Gil Kane

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“My first job came the next year at 16.” — Gil Kane

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“My salary was 17 bucks a week, up to 20 bucks a week finally before I left that to do full-time penciling.” — Gil Kane

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“Precision is not one of the qualities that comes out in my work.” — Gil Kane

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“Scott Meredith came to my house since he only lived a few blocks from mine, and offered me my job back at MLJ.” — Gil Kane

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“Silberkleit was pushed to a silent partner, and Goldwater was the operating personality, he was the editor-in-chief publisher.” — Gil Kane

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“Some publishers were already established who didn't have a comics department but overnight wanted a comics department.” — Gil Kane

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“The publishers were like syndicates. For instance, the guys that DC hired in 1936, those guys were still working there years later.” — Gil Kane

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“Then the war became a real problem and along with other shortages, they started to have paper problems.” — Gil Kane

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“There was a guy named Robert Lowndes who you may have heard of only because he goes back to the early pulp days and was still their editor, he was their last editor of the pulp magazines.” — Gil Kane

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“There was Sam Schwartz who is still doing Archie and who at that time was ghosting Joe Jinks which was a syndicated strip.” — Gil Kane

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“When I got to be thirty, I was really unhappy about my work; I thought I stunk and was at the bottom of a list of artists.” — Gil Kane

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“When I went up to the offices at DC it was like stepping into a cathedral, at 480 Lexington Avenue. There was an enormous six-foot painting of Superman right on the wall opposite the entry as you came in.” — Gil Kane

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“Within a couple of days I got a job with Jack Binder's agency. Jack Binder had a loft on Fifth Avenue and it just looked like an internment camp.” — Gil Kane

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“Yes, comics were taking over... the girlie magazines, incidentally, were photographed right there in the office.” — Gil Kane

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