“作为漫画家,把语言剖开来看是你要做的事情之一。你看到‘舞蹈的语言’之类的短语,便会问:‘这是真正的语言吗?有什么人能用这种语言交谈吗?’漫画有个有趣的地方,它们是定格的。每个人都可以对之进行更宽泛的阐述。你几乎可以把这幅画看作是即兴喜剧小品的前提。”
“This is an idea that comes from just seeing something. The New Yorker used to be on 42nd Street, and we could look out on the Empire State Building, a huge phallic symbolic if there ever was one. It just taps into all our obsessions, or at least men’s obsessions.”
“这幅画的灵感源于日常所见。《纽约客》以前位于第42街,我们可以望见窗外的帝国大厦(Empire State Building),就好比一个象征着阴茎的巨大符号。它只是打动了我们所有人的执念,至少是男人的执念。”
“I did this after that Heaven’s Gate cult [the group involved in a mass suicide in 1997 in California]. That’s what I liked about it — it would appear that week or after, and people would associate it with that. At the same time, it would work on another level and continue to be funny. This one has been reproduced a lot. From my point of view as an atheist, it’s a cartoon about religion. But it can also just be about mindlessly following a leader.”
“我在邪教组织‘天堂之门’(Heaven’s Gate)出事后(该组织牵涉到1997年在加利福尼亚州发生的一场集体自杀事件)画了这幅作品。这就是我喜欢它的地方——它在事发当周或晚些时候出现,人们会把它和那件事联系起来。与此同时,它会在另一个层面产生影响,而且仍然会很有趣。这幅作品被转载了很多次。在我这个无神论者看来,它是一幅关于宗教的漫画。但它也可以仅仅是说盲目追随领袖的问题。”
【没有不能开的玩笑:《纽约客》漫画家谈幽默】相关文章:
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