Word: cartoonist
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...aspiring cartoonist who drew a comic strip for his local paper wanted to get wider distribution for his work. So he took it to a syndication service. An editor at the syndicate liked the strip but didn't care for the name, so he changed it. To Peanuts. Charles Schulz always hated that name. In 1987 he told an interviewer, "It's totally ridiculous, has no meaning, is simply confusing and has no dignity--and I think my humor has dignity." Schulz's name for his comic strip was Li'l Folks, which admittedly isn't that much more dignified...
Based on a book by onetime Chronicle cartoonist Robert Graysmith, the film is less a serial-killer thriller than an All the President's Men wannabe, with the young Graysmith (Jake Gyllenhaal) as Woodward and Bernstein, and his senior colleague Paul Avery (Robert Downey Jr.) as a crusty Ben Bradlee type with a lot more showmanship and a mile-wide self-destructive streak. Their sleuthing sometimes helps, mostly annoys detectives Dave Toschi (Mark Ruffalo) and William Armstrong (Anthony Edwards). When Toschi is asked, "Have you considered that the killer might be Paul Avery?", he deadpans, "Frequently...
...safety. “I am simply stupid,” Graysmith says, referring to his lack of prudence when dealing with the Zodiac Killer. But Graysmith was not a police inspector or a crime reporter like the other three men focused on the case; he was a cartoonist for the San Francisco Chronicle who liked going to the library and solving encrypted messages. When the threats became more aggressive, he learned to take, well, minor precautions. “I would open my door with my foot because you know, it gets to you a little...
...serial killer who terrorized the California Bay Area during the 1970’s with a series of random killings, cryptic letters, and puzzling ciphers. The film is shot from the point of view of journalists, detectives, and members of the general populace, as well as a young political cartoonist, played by Jake Gyllenhaal. The true story of the Zodiac Killer is a frightening and horrible one, but the film is neither a conventional horror movie nor a carefully-crafted psychological thriller. Fincher’s goal, rather, is to chill the viewer with an almost hyper-real style...
...When it works, which is 90% of the time, Aline Kominsky Crumb's Need More Love provides a fascinating opus of an important cartoonist's work and a model for autobiographical comix. Kominsky Crumb seems to hold nothing back and has created a startling, frequently uproarious snapshot of art and life in postwar "jerk" America...