Artist, Creator, and Kubert School of Art Owner/President Anthony Marques | Best Worst Idea Podcast Episode Three

Frank Hannah: 0:09

Welcome to the best worst idea podcast. My name is Frank Hannah and I'm your host. This is the place we discuss the creative process, and how everyone can benefit from living more creatively. My guest today is Anthony Marquez. He is someone who really embodies the best worst idea philosophy. Listen to this from the keyword school website. When it comes to the history and art of comic books, Anthony Marquez is a prime example of everything there is to love about the art form, a graduate of the iconic Joe Kubert School of cartoon and graphic art. He worked as an editor for numerous publishers such as DC Comics and Dynamite Entertainment. And as an artist who was able to bring new and exciting visions to life for beloved characters such as Batman, Green Hornet and the Ghostbusters, but it didn't stop there. No, sir. Mark has also owns and operates the historic comic shop, do E's comic city in Dover, New Jersey. And in addition to this, he became an instructor at the Joe Kubert School, before eventually deciding to become the owner and president of the institution. There he works with instructors to usher in the next generation of comic book careers. I mean, what can't this guy do? It's my pleasure to welcome him to the show. Welcome Anthony Marquez. That's the first time I've ever had anybody read a bio. I'm like, Wow, this just covers everything. It's like I I have to say the reason I wanted to have you on this podcast is because I allowed him to I'm just in awe of, I don't know what to call it. I think it's, I think it's just more than ambition, because you don't seem like somebody who would, you know, step on somebody else's head to get a head out to get ahead in the industry, you you are known by everyone to be like the nicest guy. So, to me, I always kind of looked at you every time I every time you'd have like an announcement. It's like I remember, first one when your your wife was pregnant with your first child. And I was like, Oh, that's great. Well, congratulations on your your new production or your new creation. It's like, well, who knew that was going to be just the beginning of the story? You know, so I just think I like just being

Anthony Marques: 2:28

a nice guy. You know, I love comics. You know, I mean, really, I mean, from the minute I was a probably brought forth into this world, you know, it was already it was in the genes. It was there. I love it.

Frank Hannah: 2:41

There are other millions of comic book nerds that love comics, you know, I mean, they don't that doesn't mean they necessarily are able to, you know, marshal the amount of effort it takes to do you've done. But anyway, before I get ahead of myself, you live in New Jersey? Yeah, yeah, let you New Jersey. Did you grow up in New Jersey?

Anthony Marques: 2:59

Yeah, um, I was born in New Jersey, for a short period of time. We lived in Vermont for a little while, we had a house up there. And we went up there for a little bit. But for majority of my life, I have lived in New Jersey, I guess I would say my formative years. So we had a great time. A mom and dad are really wonderful people really supportive.

Frank Hannah: 3:20

They would they would have to be if we look at Anthony's origins story, what was your upbringing, like you you said you had really supportive parents, which a lot of times is the opposite of what people who are very creative are because they're trying to fill some kind of void or lack that wasn't there whenever they were growing up. So tell me about that. Tell me about your family about what it was

Anthony Marques: 3:43

like for little Anthony? Well, we'll just need to do an li l apostrophe, yes. But for little Anthony, it was pretty great. I'm not gonna lie. My parents, you know, my dad was worked in construction, great guy, really believed in hard work, and that you could achieve anything that you want to do as long as you go after it. My mom was a stay at home mom, and she was just, she's is still like the sweetest lady you'll ever meet in your life. She's really funny and just full of energy and was also a really great role model of how to kind of approach life doing the right things. And it was just, it was a good place. I have two brothers. I'm the middle child. I have an older brother that's 10 years older than I am, who is a professional opera singer, and he's just the most talented person in my family. He's absolutely incredible. You know, just to see that sort of talent come flowing out of somebody is amazing. Growing up, my younger brother and I were very close in age. We're about a two year difference. We both love to just create stories and characters and I kind of hit it a real sweet spot in terms of you know, we had the 89 Batman movie growing up, and I was about like, five years old and that came out. Oh my god. Ghostbusters and Ninja Turtles and you know, and then in 1992 it was the Death of Superman. Did you know that was just like mind altering to it to a kid and then at that point in time, that's when we kind of were moving. So, you know, it was really still into comics. And I just started to really latch into it. And I remember when we were up in Vermont, there was like nothing around, we lived in a really, really small town. And so my mom would literally drive us 40 minutes out to like this drugstore next to Ames, which is like a Kmart almost. And so we would go out to the Ames next one was this drugstore. And that's where they would have this one spinner rack. And we would go and pick up the comics, and my mom dragged me out there every single week, so I can get them still. Now to go back, and I just keep on devouring them. And then once we moved back, I kind of just kept on reading, we had a great local comic shop called Steve's comic relief. And I would go and I would just keep on reading and drawing. And it was funny, that's when I started flirting with the idea of, hey, you know, I saw that there's this place called the Cubert school, and they have drawing classes on Saturdays for kids. And I remember my dad being like, that's like two hours away from where we live, and there's no way you're doing. It's just not feasible, you know, but just to give you the the gist of what it was like, as a kid. I mean, that's what was lacking, I was just drawing all the time to my brother, and I would come up with our own comics. And I would just draw those always and it was just nuts. It was just a great time, you know, for to be a kid. And I think a lot of people that are around my age, you know, I'm 38. So around a 40 point range. I think growing up in the 90s was a lot of fun. It was really interesting. And then once we got a little bit older, he got really real really quick. That's its own thing. Yeah, I think it's interesting, especially when you're talking about something like comic books in that whole world. Whenever you were five years old, I was working in a comic book store, we, you know, you know, selling anything, you know, that was related to Batman like, I mean, there was all kinds of stuff people were buying because of the movie that was coming up. But the, the idea that you're I was working at this comic book store, and it was like, Okay, well, at some point, you need to stop being the deadbeat of the family, and go and take a job somewhere and do something. And so the idea is that this kind of creative, fun environment is not supposed to last forever, right? But you found a way to incorporate it into your entire life, even as an adult, you know, so you've got to continue to be great a Peter Pan syndrome.

Frank Hannah: 7:47

Listen, I am not against that at all, I think in terms of having that kind of youthful outlook, because that's a big part of what I try and tell people about kind of best worst idea notion is that you do things as you get older, and you and things become less fun, right? Because you assume, Oh, I'm not creative, I can't do this, I can't do that. And they don't understand that. creativity comes in many, many, many forms. And it's not just one thing. And that's what I try and tell people. So the idea that you can create a youthful kind of environment for yourself doesn't necessarily mean that you're childish. But it does mean you're open to creative ideas. Because the older you get, the more you're like, Ah, I've seen it done it. Don't want to know about it, don't care. Whereas when you're younger, everything is like, wow, that's the greatest thing I've ever seen. And instead, now you go to a movie and you're like, I've seen it, I think it's kind of great that that's what you've been able to do. So you're in New Jersey, right? You've, you've moved to come back, you're starting to take these classes. How old are you when you started taking these classes, these weekend classes? I didn't get to take those classes. Oh, it was too far away. So you know, at that point, I was still just kind of it's all coming clear. It's all coming clear to me, okay. Because my, in my mind, I was kind of felt like and we'll get to this in a little bit. But the idea of of wanting to own and operate the Cubert school, you have to say that that's not some it's almost like a calling. You know, it's not it's not an investment. It's not, it's not something you do as well, this will make me lots of money or this will secure my family. It's it's a labor of love. It's something that is that you had to have spoken to in some way. And so I can kind of see Sony Well, let's go back. So you're you didn't get to take those classes. But you you understood at that point that there is a place you can go where you can explore this aspect of your life, right, this x aspect of your personality and your creativity.

Anthony Marques: 9:57

Yeah, I mean, I was just something that I thought was really fascinating. And it was something I always wanted to do, but I was really terrified of doing it. Of just actually even considering drawing as a, as an actual job, for some reason, you know, I think it's kind of touches on what you were just speaking on where, I don't know, I just feel like socially or you know, the way that we are, I feel like maybe if for people that decide to go into the arts, there's this real fear that, oh, it's not a real job, like, you know, Ryan's doing this, you know, and it kind of can chip away at some of that enthusiasm that you have, probably when you're younger. And you know, you could come like I say, my family is extremely supportive. But just socially, you kind of feel that kind of chipping away at the armor that we all have a child and child enthusiastic armor, and we're going to call it. So I was just kind of scared of that. And I was like, well, maybe I should do something else. And, you know, I graduated from high school, and I kind of flirted with some different ideas. And I went to my local community college, and I was going there, and it was great. I was having a fine time. And I was like, Well, I guess, like, don't be an English teacher. And I didn't want to be an English teacher, though, I just didn't overly enjoy that idea. So I stayed there. And then once I finished up, I left, and I decided, You know what, I think I'm just gonna kind of travel up and down the East Coast for a little bit. Because my friends in different spots, and I went down, and I would go to Florida a lot, that seemed to be like, my, my main place. And I would just kind of just have some fun, I think, when you're 18 years old, 19. And you're just trying to figure out who the heck, er, I don't know, she just rushed into a decision, I think it's a good idea to kind of play around and see what you like, it's kind of like drawing in a way you got to sketch you got to do some rough, so you got to see what you like. And then once you see the lines in there that are enjoyable, you can kind of refine it and then make a good decision for yourself. Well, so yeah, and I think that's a good way to, you know, to frame the creative process in general. But this, the idea that, you know, you know, that if you do a sketch, and it sucks,

Frank Hannah: 12:14

that's not the end of the story. You know, that's where you start. And, you know, all you have to do is watch any number of tutorials on YouTube of people that are doing some version of something on whether it's digital art, or whatever. And you're seeing them a race, in a race, in a race in a race and to get what they need or changing. And so nothing comes out whole, in a perfect way. And I think that I think that's awesome that you, you know, see that maybe that's something you realize now as you as you're older, that that's what you were doing. But, you know, I think for me, when I, I think there's there's this great thing where you want to encourage young people to explore, and you want them to, to be able to feel like they can be creative. But somewhere along the line, there's this, we've kind of lost this, this other half of it, which is telling people that they're amazing when they're not necessarily amazing. Like it's, it's fine to to give people the encouragement to explore and be creative. But there's also the the other side of it, which is, okay, you need to do this to get better, and you need to do this, and you need to do that. And that failure isn't the end of the world. It's actually a really good thing. As opposed to saying, This is amazing. You know, I think it's the best way to grow. You know, if you're not failing, you're not trying. So yeah, it's really the only way for you to grow is to fail. Did you ever? Did you ever go ahead? Did you ever watch Family Guy? Oh, yeah. I'm a big fan. Okay. Yeah, so me too. There's a great, I'm sorry, I totally don't know what you're gonna call out on it. And I'm like, I come across as a fake fan. Oh, no, no, no, it's, it's not even I'm gonna I'm not even going to test you, or anything like that. It's just that there's they do all these great cutaways. And one of them I used to love, while I still love is where, you know, it's the Beatles recording, and Ringo comes in. And he's like, Hey, guys, I recorded this new song. And they go, that's great Ringo, and Paul McCartney takes it and he walks over to a fridge and goes, we're gonna put it right here on the fridge where everyone can see it. And so it's fine to say, hey, great job, but like, let's continue. Creativity can sometimes come from a lack of self esteem, you know, where you're feeling like, I'm not good enough. So I'm going to try and try and try. And then no matter what it is, you end up flexing that muscle so much that you know you become a pop singer or you become an actor or an actress or somebody because you're trying to fill this lack. And so it's an imbalance but at least it's something that you know, you're never good enough so you're always going to try and get better. And the other side of that is you have these people with way too much self esteem. They have all of this belief in themselves and none of the talent because they feel like they never everything was always great. Because no one ever told them. No, that's not good. Because it's not about like putting someone down. It's more about saying no, no, this is how you get better.

Anthony Marques: 15:20

You have to be really self aware. Yeah, is I think the most key trait that, you know, if you're going to have anything, I think that that's where I kind of got it from was from my parents in particular and growing up because they were very real, very real people. And, you know, being able to identify what your weaknesses are, I think is very important trait. And that's what I mean, by being self aware is able to identify, are you really good? Are you as good as the person that's putting the book out right now? Are you as? Are you worse than everyone you have to be able to identify like, are your faces? Do they look like crap? Can you fix that can do a better job? What can I do to make it better? What do I have to study? Do I have to put in more hours do I need to try harder? So if you kind of go into just thinking that you're? You're in for a very rude awakening, because I can promise you that you're not? Yeah, I listen, that's great advice. You sound like somebody that should own a school of art.

Frank Hannah: 16:18

What was your big comic book, click inspiration? Who was the one that like if you had an artist who looked at

Anthony Marques: 16:25

Dan Jergens, I loved Dan Jergens. Grandpa, I thought that he was just, I mean, he was, you know, he drew the Death of Superman, that was a really put the the final hook in the in the mouth, you know? Yeah. And I mean, Jergens was just so great. I loved his work, especially when reading was thinking over his work. I just thought it was great. And then as the years kind of went on, when I was in high school, towards the end of the, you know, my junior year, senior, I probably kind of got a little bit away from drawing as much just because, you know, I was trying to play sports, but I was incredibly injury prone, and it never really worked out very well. And, like I said, I just wasn't sure if it was a great idea to do this sort of a thing if going into art was really worth doing. So then went to community college, did what I had to do there, went and hung out a lot down in Florida. And then I realized I need to get a job, I need to do something else. So I started actually doing construction work. And I did that for a little while. And that was a really great gig too. Because you kind of I enjoy it. I respect it. But I also realized that it wasn't for me, right? You know that that was not meant for me to do. And I think that that's also another really great thing for a person to go through in their life is to kind of do something and realize, you know what, this isn't for me, it kind of reinforces that when you do get to do the thing that you want to do. It makes it more special, and you definitely latch on to it pretty quickly. Yeah, yeah, for sure. I mean, I think you.

Frank Hannah: 18:07

I mean, I know, I worked a job before I started writing professionally. And it was, and I was good at it, but I hated it. And I knew it wasn't what I wanted to be doing, which I think made it more miserable for me. But, you know, having a work ethic is certainly something that is important, you know that, you know, okay, I'll do this. But you know, it's usually in service of getting to do something else, you know, that you that you love. So I can I can understand the idea of like, is this the way to go? Because as you know, now, I'm sure back in 1989, when people were buying ridiculous amounts of copies of comic books, thinking that they were all going to be gazillionaires later in life, it was this very speculative market that no one was doing the math back then, you know, the idea of like spawn number one comes out, and there's 8 million copies that they get printed, and everyone's buying 10 copies. And if there's only two or 3 million comic book readers in the world, all of them now have two or three copies. So it was a madness that overtook people. And it back in the those times. I remember that of books, if you're reading a book for DC and it had, you know, 85,000 copies a month, DC would like cancel it. Let's say this is not working. But now, that would be that we're doing great. We have 85,000 copies. But anyway, my question to you going back is that as you were drawing and getting better, like when did it become an IF versus when like is there's this maybe if I can possibly draw comics for a living or work in the industry? When did it become? It's not a matter of if it'll happen. It's a matter of when it'll happen. Do you remember that point? Yeah, I think I think this is really the that point was so

Anthony Marques: 20:08

Around that time when I was doing the construction work, I mean, a lot of the guys on the job are great. I would draw all the time when I was there, I had really, really started picking up drawing a lot at that point. And around that summer, I had met a lovely lady who would eventually become my wife, Jackie. And I remember being out one night, and I was drawing a lot. And she was like, you know, you really need to get like a drawing desk set up. You know, you gotta have something. And how's it going? Yeah, sure. And I remember coming home one night, and up in our room, we were living together, she had put together a whole drawing desk area for me, she put together the desk, you know, she surprised me with everything. Oh, it's just kind of just that belief that like, somebody else believes in you, too. And it's like, you know, yes, I understand. So it's great when mom and dad leaving, but just having somebody else to kind of go out there and be like, hey, look, I believe Ryan can do this, you know, I think you've got it. And I remember that was a really special moment for him that I got a little emotional thinking about that. But that was a really special moment for me. And I was like, You know what? It was? Like, I think if, you know, she believes in it, and I believe that, then I can do it. I think I think we can go out there and do it. So that was kind of the final nail in the coffin for that of like, Hey, Barry, any doubts that you have. But now you just got to go after it. And at that point, right. You know, I had already applied to the Kubert School. But I didn't have the money. I couldn't come that first year. So on top of it with all that, you know, and now you know, I'm trying to do this. I had left the job doing construction work, and I needed to make money. So then I was doing I was bartending at night, saving up every single penny I could. So this way I could come to the school the following year. I'm still drawing and trying to just get better on my own and try to enter and your parents must have just been shaking their head. You're like I'm bartending so I can go to Comic Book school. You know, they've been in mind, they love the love the idea. I remember coming up and doing the interview. And it was it was awesome. I got to beat Mike Chen who was here. And wow, it sat down with him. You know, he gave me a tour of the school, which actually wasn't where it is right now was actually a temporary facility because they were doing construction work on the building. Wow. So I wasn't it wasn't even actually at the real school, you know, so I had to go there and do their thing. But yeah, just seeing that desk being put put together. And just feeling that sort of like yet. She supports me, she loves me, she believes in me to do this, that really hammered at home that I could go forward and and accomplish something. Well, that's amazing. I think a lot of people would, would love to have somebody, you know, that's close to them that's supportive. But you know, where you really believe they're not just blowing smoke up your ass because right? They want to make you happy, they realize this is who you are. And that this is something that needs to be nurtured and needs to be brought out. And that's great. Because it says a lot that that was what kind of played out. Because the reality is people get to a certain age and it's like, just No, you get a job, and then we're going to get married. And then we're going to have kids and we need to buy a house. And so you're going to you know, there's no flights of fancy here. You you need to just get down to it. And so then what year did you end up at the school? The following year, I was able to attend. So worked my butt off, was able to get to the school. And I remember coming that first day, sitting on the steps, I was super early, and I was so nervous. And because I was like, Oh, well, you know, I'm a decent artist. But you know, well maybe like, you know, this place is going to be just filled with people that are just way better than me. It's going to be like an embarrassment. You're gonna say you have no business here. Why? Yeah. But I think that's a very common fear. You know, and I think sharing that and I hope people hear this and they're able to realize, all right, yeah, you know, I'm feeling that sort of thing to go matter what school you go to, whether it's an art or whatever you're trying to do. But once those doors opened, and we all went in, we sat down and we got to really start working. It's just it's a great atmosphere to be in to be surrounded by other like minded individuals that want to achieve the same things that you want to where to have talks and discussions about the same things that you want to and you just have, you have a lot of fun. It makes for a really great creative environment. And the school was incredible. I mean, first year I got to learn with some really incredible instructors in second and third years, the three year school. Oh, it's gonna ask you like how many years? Yeah, and it was just that was fantastic. I loved my three years as a student at the Cubert school. It's extremely The hard I do not make any you know if ands or buts about it, it is difficult. It is very difficult. It's very intense, you know, it's five days a week you are drawing every single day you're drawing when you go home, you're gonna probably be up really late at times having to do the work. But when I graduated, I felt that my artwork had improved so much. I mean, from from day one to, you know, your your last assignment in third year, there's a drastic and dramatic change

Frank Hannah: 25:40

in just how much more publishable if that, if that makes sense that your work becomes well, yeah, cuz I think a lot of people, I mean, I even count myself, like, I like to doodle. And I like to draw. And so I would go on to, like I said, YouTube, YouTube certified art art school, where I would, like, Oh, let me see how to draw the human head. And let me see how to draw this and draw that and you do it. And you're doing it over and over and over again, but you're not. And it's fine. And maybe you get a certain level of acuity to drawing the human form or what have you. But it's not the same as being in a school or being around other artists or teachers that say, no, no, no, let me show you right and right, and giving you that information and time to learn the ways they kind of overcame the same problems or, you know, a new way to visualize it, or what have you. So you can't really beat that, I think, and that's something that I want I find when I watch these videos to kind of learn how to draw this or draw that. And it's just fun for me, but it really is not the same. You know that because I would want someone I would like for someone to reach out through the screen and say, Oh, no, no, no, that you're screwing this up. This is what you need to do. But yeah, so what a great experience. And when you think about the alumni that came out of the school alone, and at least the ones that, you know, resonate with me, like the Rick Veatch is and the Tim Truman's and even beset Alex Maleev. I mean, these are, like legends. And that's the same thing of probably the people that we're teaching, you know, throughout the years. I mean, it the alumni list. I mean, you have to remember the school has been open for over 45 years. Yeah.

Anthony Marques: 27:33

I mean, Nikopol Attano, over at DC has names and every single issue of DC Comics, because, you know, he's one of the main guys there. He's a keeper alumni, Rob Clark, who is in charge of production over there. He's an ex qB. You know, Lee weeks Andy Kubert. Adam Kubert. You know, if, like you said, Rick Veatch Amanda Connor. I mean, there's, it's a laundry list that just keeps on going. And that's just for comics. You know, we're not even talking about you know, Bill pressing who's over at Pixar, a bauta. She was over at Nickelodeon or Warner Brothers. I mean, there's, there's way more than that. It's an every single facet of comics and entertainment industries. It's really, really incredible. Yeah, it's, it's unlike anywhere else, it's so unique. I love talking about the school because it is special. It's a really incredible place where, you know, you come here, you're not you're not doing math in English, you know, you're coming here to, to learn how to draw, you're learning how to tell stories. You're coming here to be become a better creator. And it's, it's really incredible and special. And, you know, I told people for many years, and I still tell them, it's my favorite place in the world. It's located in Dover, New Jersey, you know, and, you know, a close second would have to be Disney World.

Frank Hannah: 28:58

Yeah.

Anthony Marques: 29:00

Yeah, but I love it. I absolutely. And that makes sense. To me. That makes sense to me. Because there has to be this luck. I'm thinking okay. Well, you know, it's, it's one thing to say, Oh, I really got a lot out of the school. Like I have friends that have graduated from the School of Visual Arts, and they have taught there and, and that's an entirely kind of the same but different. But that's not necessarily the same as you know, I think you really this really, like solidified something in you. So would you say to that as a result of getting through the school is what led to you working at DC? Oh, 100% 100%. So what happens at the school? You know, it's so funny. It's like, I feel like for every good thing that kind of happens. There's like kind of a negative that comes before it's really funny. I guess it just keeps balance in a weird cosmic keyway. So, you know, I came here and then what they do is is in third year, you have portfolio reviews and you meet with every company you can think of it It's out there. And I mean, they all come and they're basically coming here to cherry pick who they want to hire. Right. And I remember one time in particular, I don't want to say a company's name, but was one of the big two will say that, actually, I'll tell you two quick, big two stories. I won't say which ones which, but so I came in, I was positive, I was positive, I was gonna get hired. I really thought it was gonna happen. And I remember going in, I showed my portfolio and I was like, oh, here comes, they're gonna, they're gonna give me the gig. And all of a sudden, it was like, I That's great. Well, you know, send me some work, we'll send you like, some sample scripts. And you know, you know, we'll take we'll take it from there. I was like, Oh, this is horrible. The worst, the worst thing ever. And I remember seeing Andy Kubert in the hallway. And my stomach was just in knots at that point. And, you know, I had butterflies and so that, and he goes, You can't you look, you look a little sick right now. And I was like, I'm fine. I'm fine. It's all great. This, you know, three years of stressful work every single day, just, you know not to do. Yeah, you know, and then a another company, we went to did the portfolio reviews with won't say the names or anything, but I went and someone really liked my work. They were like, hey, look, I want you to do a few pages on something. Let's get you to draw some quick pages, we'll get you set up. And we can do it right. So I go, Okay, this is gonna be great. I do these pages, I send them in, and the person writes back, these look beautiful, fantastic. Can you do just two more to complete, like an entire sequence? And then you know, we'll get your setup. Alright, great. Do two more pages, send them in? And all of a sudden, I go, Hey, here you go. And he just writes back? They look great. And I go, right back in email? Hey, you know, you said we could we could do something after you know, I did all these pages. And the email I got back was didn't you get anybody else's contact information? So I mean, you know, that's a real gut punch, you know, you know, you're a young artist you're trying to break in. And I think all young artists, young writers, anybody that's in this field, I mean, you're really putting your heart out on your sleeve every single time you're reaching out, yeah, you're expressing your desires so badly to want to work in this. And then to have that sort of a reaction. I mean, that's just, you know, that's in that it takes the wind right out of your lungs, you know, all the air is out. And, yeah, absolutely. I mean, yeah, it sucked. But you also build up those calluses, as well, I think that's kind of part of it. I'm not saying that it's healthy, that people respond that way. But it happens, it's a reality. And you do need to have a thick skin about it, or at least, you know, because there will be people that they aren't of interest, or they aren't interested in what you're doing. Or maybe they don't like your style, or whatever it is. And there's no rhyme or reason. And there's other people that, you know, are maybe trying to say, well, you maybe you're just not quite there yet, because I've heard that a lot. When people get their portfolios reviewed, they might say, well, you know, it's good, but you're just not there. And all you hear is I'm not good enough, you know, but yeah, the trick is, you kept going and you realize that, okay, they're gonna tell me no, and then I'm, I'm going to keep trying, because it really does thin the herd. I mean, I know back in the early 90s, before I was any kind of writer, and I was a huge, huge fan of,

Frank Hannah: 34:01

of the vertigo comics, because I was less superhero fan than I was vertigo. And I used to send in, you know, proposal after proposal after proposal to the vertigo editors. And guaranteed I would get back these letters, that would be they were they were, they were not, some of them were formed letters, but then I would get others that were typed out. And basically, they just said, this just isn't good enough, you know, and at the time, I'm like, I can't believe this. And and, and then I would, you know, I remember talking to our mutual friend Scott Lobdell and I remember saying, you know, I can write better than the crap that's coming out now. And he'd say, Yeah, but you know, the, the goal isn't to just write crap, that's a little bit better. It's fig what up? And I said, okay, okay. But you know, so you just keep putting those rejection letters on the wall. Back when they'd still send out letters now it's I'm sure it's emails or whatever. But yeah, I would just keep them and then eventually You stopped taking it so personally and you and you just say, okay, because we we kind of went past this if or when situation, then you know, you're just gonna keep going and you're gonna keep trying. And hopefully, you end up somewhere. Yeah. I mean, yeah. I mean, I think it's, I want to say this like, Yeah, I mean, I started feeling extra pressure. At that point I, you know, when I was in school, when I was a student, I got engaged in my second year, to Jackie, we got engaged. And then, in my third year, I actually got, we got married. So I wasn't even, I hadn't even graduated yet.

Anthony Marques: 35:50

You know, I was married in third year, we put off our honeymoon until I actually graduated. So we are making your life like, so much harder on yourself than it needed to be, weren't you? But it's what I wanted to do, though. No, it's fine. Yeah, it's, it's a challenge. Because it's enough, you know, but when you add other people to your Yeah, your world in your, in your, in your

Frank Hannah: 36:16

obligation to those people, right, right. It's like, no, no, they're in your airspace now. And you have to take care of them. And you have to make sure that, you know, it's an us now it's not just me, yeah.

Anthony Marques: 36:28

So we do go out. And thank God, I will say, though, when I was doing the portfolio reviews, a company came by, and their name was mad at design. And they gave me a job, they said, you could start soon as you get back, as soon as you're ready to come in, start. So I graduated, and I was able to go right over there and start doing some small work, you know, I did some spider man coloring books, and like Disney princesses and things like that. And that lasted a little while, it was great. I mean, I was having a really good time, but it was really still freelance based, you know, I'd have to trek into New York. So that was nice. But you know that it's expensive to take the train in every single day. And then what pretty much happened was a position opened up at the school, for the events coordinator. And I took on that job. And I started basically going around to all the different shows and traveling with Andy, Adam and Joe and getting to kind of see firsthand how to conduct oneself at a show in the right way. You know, I had already done some smaller shows or some decent shows. But I didn't really understand how to like really put myself out there. I learned a lot from it. That was a really great gig.

Frank Hannah: 37:46

Yeah, I mean, cuz aside from that, you're also it's like, it's networking. Because as I as I kind of joke, but I honestly believe it, it's like, you're very, you really come you're a nice, super nice guy, people can see that you're genuine. And so that I think if people just get to know you, they're gonna say, Oh, wait, and he has talent as well. Well, that's great. You know, this was a guy that I think is easy to work with. He's easy to deal with other people, etc. So I That doesn't surprise me. So So of course, you're doing that. And then that leads to that's what leads to the DC job. Right. So like I said, there's usually something a little little bad that happens.

Anthony Marques: 38:30

But I remember before, I don't know if I want to say any names, so I'm going to try to keep it that's, I just feel bad. Because it was coming from a good place what was said, but this kind of goes back to you got to kind of take your licks man, you know, you're gonna, you're gonna get hit knocked down a few times, but you got to get, you got to keep getting back up. And someone that I really, really admired, you know, really respected and, you know, was an idol at that point really, pretty much sat me down. I was like, Look, if you were going to get a job drawing, it would have happened already. Oh, I don't think it's going to work out. I think, you know, you're a good guy, basically, all the things you were just said. But he, you know, he said, I think you'd be a really good editor. And you know, there's a position that's open, you should apply. And I think you should really go after it. And I said, Okay, great. You know, what, are you saying that? Yes, yes, I will do that. And, you know, I applied I wound up interviewing. It took about six months. Before before I actually got hired at DC. Wow. You know, I interviewed each group I met with everybody, you know, all the way up. And they were great. I loved it. And you know, and then when I found out that actually got hired, I mean that was incredible. That was a really good that was a really rewarding moment to feel like hey, wow, you are really accomplished something You know, I'm at DC, I was working in a Superman group, I was working on the Superman titles and Teen Titans and all these really cool characters and getting to work with so many wonderful artists and writers. And it was really awesome. I think an editor, being an editor is a wonderful job. You know, I was just telling that to somebody the other day, and they're like, You're nuts. But I think being an editor is absolutely incredible. Because it was just, you were saying, Is this somebody you were telling them? Or it wasn't good enough? Never good. But, you know, it was just, you know, being an editor you're you're you're much more creative than people think you are, you're really involved in every aspect of it from you know, the art to the writing all the way to solicits and production and all the way up. I mean, you handle everything, and you're involved, or every single person on every single book. So

Frank Hannah: 41:06

there's also the the right, the hand holding, you have to do I know when I was working briefly at DC, and I work with you on? Like, it was probably, maybe super Almay comics was actually in comics. Yeah, I totally remember the story. And, and so, you know, I know, you know, I didn't, I didn't have I didn't work my way up the, you know, the ladder of comics, I came from film that was kind of what happened for me. And it was just a great opportunity. And I know that there was times when I'd call up, are we we talk and it was kind of like, okay, yeah, no, no, it's like you, you, you're very kind of diplomatic and very, you know, supportive. And when things seem to not be going the way I wanted them to go, you're like, Yeah, I know, I know. I know. I don't understand it, either. But I don't know. Because I know, I probably like a lot of people that have worked for big companies like that, you know, you assume that they're all just for the love of art. And really, it's it's just market share and money. And there's all these things that are just a part of it. And so our job, you know, it's yeah, you're playing with their toys. And at the end of the day, it's their rules, you know, so I know that might seem like, you know, I'm just throwing out corporate speak, but it's, it's the truth. You know, if you want to work in that world on those characters, it is what it is, you know, they're going to give it to you. But I think that's also why you're seeing such a boom, and I can't even call it the boom, because boom has been going on for so long. With, you know, the creator of materials and the way that people are getting their books out there. So Oh, for sure. For sure. I mean, what I realized, yeah, no, I mean, the thing is, for me, I was I felt like I had opportunities to do things that that I wouldn't have normally. But I never my my my dream of kind of becoming, you know, a popular and or successful writer on that level of comic books never really happened, which is, which is totally fine. But anyway, enough about that, that nobody wants to hear. Well, it's kind of great. And I think his at the time when I first met you, I thought, Oh, he's you know, I didn't know any of this background information about you. I didn't know anything. You know, all I knew was, I think this really great guy. And then, and then I saw that you did do some art. And I'm like, Oh, he has a really unique style. It's, it's, it's not like every other person has kind of a classic style. I think he would say, I don't know if there's a way to call your art style.

Anthony Marques: 43:53

Yeah, I mean, has that animated thing going. Now it does. You know, when I was a student, I was super detailed. I was really into really going nuts with detail. Okay. But then as what happened was, is when I was eventually DC, you know, they came out and said that they were moving to California. And that also happened to be the day that we found out, you know, Jackie was pregnant, and everything else with our first child. And I was like, holy moly, you know, what do we what do we do here? Yeah, yeah. Okay, go ahead. Sorry. No, go ahead. Good. Okay. So so the thing is interesting about that, to me is and I remember

Frank Hannah: 44:35

when people were starting to transition over to California, which kind of happened slowly and they were the people that okay, I am going to move in and the people are like, No, I'm not going to move. And there were the people that were already probably here and I remember thinking at the time Oh Anthony's not gonna be coming in. He's probably going to be leaving the company that and then then you went on, I think to work for dynamite. Yep. And at the time, and I'm like, oh, at some point you're now your your your wife is pregnant. point after that, did you say I know what I'm gonna do? I'm gonna buy a comic book store. Let me see, um, like when you're sitting in the wheel of bad ideas at home. You know, I'm thinking, you know, this is crazy. I mean, it was like, when I heard about it, I wasn't like, that's the worst idea ever. I mean, I'm joking. But just in terms of what would be the most prudent thing to do. Given your situation, maybe that wasn't it? Right. But it's but you stuck to your guns. And you You did what you felt was like, where your heart told you, you know, and I think you must have seen some way forward for it to happen. Like, how did you come to that? So to get to that point, let's see. So I was at DC, they told us that they were leaving to go to California, I actually did teeter totter on whether or not I was going to go at one point, I did say, yes. Okay. We had talked about it. And I didn't think it was right, that the family wouldn't be able to take part in her life at a young age, I didn't think I thought that was very selfish. So

Anthony Marques: 46:22

I decided to stay. And I actually took on my first job was actually drawing the shadow for dynamite. And I went, I remember doing some stuff, I was doing some work at Dark Horse, I don't even think that story ever was published, which is also a real kick in the stomach. And then, but the duchateau, one came out, then a member dynamite had reached out about coming in and doing an interview to see if I would have interest in editing there. And I came in, and I was doing some minor, like, you know, little, little art jobs for them. And they had asked, you know, would you basically to skip forward a little bit? They asked, you know, would you have interest in working here? And I said, Yes, you know, it'd be great. But I want to draw, I need to be able to draw, I'm coming here, though. Because at DC, if you're an editorial, you were not allowed to draw and you were not allowed to write. You had to just be an editor. Well, could you can you work for, like, so if you were to DC, you couldn't write or draw for any other company, either? Correct. So you weren't allowed to work, you weren't allowed to do anything, you know, I'm just gonna say creatives, right, but basically produce any artwork for them, or write for them and get a credit in any of the books while you were there.

Frank Hannah: 47:46

And I hated that. Because there was tons of times where I was doing the layouts for the books where I would go back in and I would fix things and have to do this or that. And, you know, I didn't think that that was fair. So

Anthony Marques: 47:59

then eventually, when I went to dynamite, we did the interview, and I said, Look, I'll come but I'm gonna come here, I want to do it as a writer, I mean, as a, as an editor, artist, I want to do both. I want to do both things. And they said, Sure. And they were great. Like I say, you're working, there was really enjoyable time. And then when I was there, I was working on tons of books. And I actually kind of burnt myself out a little bit. Yeah, and I just kind of wanted to take a step back for a minute. And, you know, Jackie was like, Well, what do you want to do? And I had come across one of my good friends who own Dewey's comic city, and he was looking to retire. He didn't even want to do it anymore. So I said, you know, I would be very interested in working out something in order to acquire Dewey duties. And we got to talking and we made it happen. And so that worked out great. I was very happy. And that kind of helped to recharge the batteries. And then at that point, Dewey's was doing great, we have a wonderful store manager, John, who's down there, always, and he's absolutely incredible. So I felt, you know what, maybe I don't need to be here, every single game. I reached back out to dynamite. I said, you know, I'm feeling a lot better. I would like to come back. And they said, Sure. So I went back, and I was back to editing a bunch of books, I was drawn stuff still for them even during all that. And it worked out great. I had a really good time there. That's insane. Like no, no sane person would decide that this is a smart thing to do. Not because it's that you can't be successful, but just that in terms of in the abstract saying, oh, I want to own a comic book store. Then I want to go back and edit and draw up like well pick one, right? And that's usually how people see things. They don't see a wider kind of view, you know, that you can I think if you if you look at things right, like I think it's very easy to see. Why are you doing so many different things at once I go. Why not? You know, just because you think it's strange doesn't mean that I think it's strange, you know, so, you know, I always I might not physically be in one spot, always, because I have to do one thing, or I have to go somewhere this or that. But you also work with people that you trust, you have to have a good support system. You have to have, you know, I'm very aware of everything that's going on every single day of every aspect of each business. And what's, you know, what are the numbers? How are we looking? What's the outlook? Right? What are our projections here? What do we have to do? What do we need to change? So I'm always aware of all of that, as long as we're hitting our, I don't wanna say quota, but basically are our numbers as we go forward. I'm okay. You know, I can, that allows me more freedom to do more things. Now. So if you had to, just to interrupt you here in a second, yeah, go ahead. Is owning a comic book store? a profitable business? Yes. Because our shop is profitable. Now, what I see in a lot of shops, and you know, in terms of the comic books, it's almost like, your hat, the way I look at it is is like 711, right? You, you have to have cigarettes, that you sell for close to nothing in terms of profit, so that you can, so you can sell other stuff burnt to bring them in, because everyone wants to have that. So you need to have this thing that doesn't necessarily light the world on fire anymore in terms of sales and profit, so that you can sell every other ancillary ancillary thing. Is that an over exaggeration, or do you feel kind of like that, you know, partly true, or so just to kind of describe how our shop works, you know, new comics, that's, we sell a lot of new comics, you know, as they come in, or sell on them, you know, back issue business, it's big, okay, it's a big business. And that's kind of like, you know, if you're selling breaking even on the cigarettes, and you're making all your money on the soda, back issues or your soda, you know, okay, it's, we're, I think you're killing it. Especially if you can acquire collections that have real keys in them. I mean, you know, you're talking about the speculator speculator market before about that was going on in the early 90s. I think there's still a huge speculator market, you know, I think people are always looking to see whatever movies coming out, and then they go nuts, trying to find, you know, these characters because they find books to skyrocket. I think that's a very interesting thing. Because if you know, because a lot of times you'll, you'll find a little comic shop, like a few little comic shops by where I live. And when you go in there, they will have new comics, like, I have one guy, I know, that his, his I don't call it a gimmick, but his way is that he will, he will have every solitary single variant cover that they just put out. So like, that's a trap. I think that's a trap. And maybe so right. But that's his thing. And so he's known for that. So but because, you know, things only sell what they sell, you know, if, if there's a comic I want and then, but then it's sold out. It used to be, oh, I'm going to have more next week, or I'm gonna have right nowadays, it's like, yeah, we sold out of it, who we sold the five copies that we bought. Yeah. And that was enough, because they don't want to be holding on to all of this extra inventory. And even though so but I think if you're a bigger store, right, obviously, you have to have a certain level of customer base that knows this is what you do

Frank Hannah: 53:51

to feed that right. So

Anthony Marques: 53:54

I mean, the the weird part with us with Dewey's was, it was very well established to right, you know, so, the customer base was there, you know, so when I look at a business or from kind of interested in something, I look to see, you know, is it established? Does it have that customer base, can we make it bigger, you know, how do we how do we keep on improving it? And so, do we already had it, the scary part with Dewey's was, and with the school and everything, and I don't want to touch on the school yet, because I know you probably want to bring that up. Sure. But was with COVID? Oh, yeah, particularly, because now there are no more new comics, right? You're not getting your shipments from Diamond anymore. You're still paying rent, we were in a different location. So what we wound up doing was at that time, we did have the school I had the building, and I said, You know what, let's let's move Dewey's. We can protect it, you know, we'll circle the wagons and we'll just protect everything. And so, we brought Dewey's over to the school. I was gonna say, I bet I bet that would be the way to do it like okay, here's Dewey's, but it's in the school. Yes, so that's exactly what we did. We brought over, you know, we also have the the cupid art store that's also located at the school, that's its own store as well. And so now they're located in the same area of the building. So you have a comic shop and an art store, which is really unique and really cool. So I definitely with everyone check it out. Because it's just, it's a different thing to go through. But it's been great. I mean, you know, the students love going down to do ease, we use it actually as a tool at times that brings students down. And we talked about how to find editors, and we talk about, you know, you're looking at the artwork that's out there and identifying whether or not we're, if you're as good as the person that's doing these books, you know, who to reach out to, you know, all the different people that are in there, but Dewey's has been great. And so, I mean, at least it's not like these disparate kind of businesses that don't kind of connect on some level with each other. That's what I loved about what you've you've done is that you've not just created a little mini empire of different things. You've, you've said, Hey, I have this holistic view of my creative world, which is, okay, here's the school that teaches, here's an gives back, here's the, the the stuff that I do artistically, here's the store that sells what could be the, you know, the fruits of everyone's labor kind of a thing. So I think that's really awesome. And I, I just have to ask in a little time we have left is what, okay, on how did you you can just hear the like, unbelief, disbelief in my voice? How did you come to the point where you said, I know, I'll Cubert school? Like, how does that work? Well, I had heard basically, through the grapevine that it was going to become available. And it goes back to what I was saying before, where I love this place. Everything that I've been able to do, as well, a lot of the key moments of my life have happened. While I was here, I love I love this place, everything I learned everything that I do, was really kind of bounded in there. For my professional stuff from here. And the idea of it ever going away, we're kind of just turning into something. I don't know, it's not as grand as it is, was really strange to me. And so, and, and was it like, was the word on the street, that it was just going to go away? Or what was kind of close? Or was going to just wasn't really sure, I mean, you know, there's different different ideas of what it could become? Or what it would do. And I didn't like any of them. Right? You know, and, you know, I love what Joe created here. And it's it is really special, because this is a place where people that have similar wants and needs and desires. And this is where they come. You know, this is a very special place. It means a lot to me, you can go to all those other schools that you were talking about. You can go to regular college, but it's not the same. No, it's so unique. And I think if you talk with any of the alumni that have gone through here, and experienced it, they feel the same way. You know, it's you wear it, this is a very proud badge of honor. You know, when I go to a show, and I see a cube root alumna, and we talk about it, you know, it's something that you're very, very proud of, I can't I remember going home and telling Jackie and being like, hey, look, I think we should really look into this. And, you know, thank God she didn't divorce me right there.

Frank Hannah: 59:05

Listen, people have divorced for for less. I mean, so I just I think it's great. I mean, that's why I'm, I'm really in awe of you. Because the fact that you, you make these are the kinds of things that people dream about doing, you know, it's like I'm going to it's like what you see in movies, you know, I'm gonna save the school, or I'm good to go. And you've and you've done it. And I mean, I remember reading comic books and seeing, you know, the Kubert School ads all the time and thinking, wow, wouldn't that be so cool, you know, I never was serious enough to to look into actually going and doing anything like that, because it really wasn't my thing, but the idea of it was just awesome that you would have this school that this is what they're teaching you. That's amazing. So I think I so I think a lot of people probably you know, kind of the oh geez and the comic book world that either are alumni or at least understand what the school is. We're probably quite happy to see somebody who really wanted to keep it what it was, without yarn, probably still bringing it into the 21st century to, you know, trying to find ways so that it can grow and be something that offers, you know, opportunity for people.

Anthony Marques: 1:00:29

That's something that I'm, I'm really proud of, and I love talking about. So I hope you don't mind if I talk about this for once. No, no, this I like I said, this is great. But you know, when we took, I don't wanna say took over when we came in to the Cubert school. You know, there was definitely things that we wanted to update we wanted to bring into the schools program, you know, so some of the really great things that we did was we created the Cooper school online studies program. And so now for the first time ever, if you lived in, you know, Indiana, or you lived in England, or wherever, anywhere around the world, you could actually take part in these live classes, you know, how you were talking about YouTube? Right? How you could watch those sorts of things, but you're not getting that interaction with the instructor? Well, with these classes, you can you actually get real feedback, the class sizes are limited, we don't just take in everybody to do it, you know, REITs really, wherever signs up, you're going to do it when that class sells out. It's done, you know, and we're moving forward. And those have been really, really incredible and successful. And it's just been so special, and it's opened up the doors for us to also bring in instructors from all over the world. So Joe Prato teaches there. We just had Fulham, as you know is over here in New York, we've had Marissa Napo Marcos Han Tucci, we're over in Italy. And we have people from all over the place. And then even the students from all around the world taking it. We had Dan to do teaching, which was absolutely incredible, a really great class, Tom Mandrake gender, so you know, high five, the great colors, teaching, you know, the coloring classes, and there, this is fantastic. On top of that, we got full approval by the Department of Education to actually offer our full time program the actual Monday to Friday school, online as well. And that's live as well. So you're able to take part with your classmates interact with the instructor, get that feedback that you want, actually do the full time program. I mean, we've gone out to so many more shows now. We're constantly on the hustle, we've updated the school, all the electronics, each classroom now has sinned TEKS and scanner printers like you know, we've really tried to make it so that each classroom operates as its own studio, you know, so they're able to do the work there. They have everything that they need. Sometimes things get broken, but we have to fix them. You know, so the lightboard gets broken, we bring in a new Lightboard. But

Frank Hannah: 1:02:55

it's just awesome. I mean, I think it's great. I appreciate it. No, no, absolutely. So if you want to make news here today, you can tell me what the next big thing is for Anthony Marquez like what is what is it going to be now.

Anthony Marques: 1:03:11

So last year, what we do is we launched our first ever Cubert school intensive, and that was a month long program. And it had wonderful instructors. And we did that right here in New Jersey at the at our main site at the our school. Well, we decided to start branching out a little bit. So now what we're doing is we're actually launching our first ever intensive outside of the state and we're doing it in Florida. So this year, for the first time ever, we're going to be doing an intensive down in Orlando, Florida. So anybody can take a peek at Cooper school that edu and look at it. We have Lee weeks teaching Klaus Janson, Joe Prado and myself. And it's gonna be a month long intensive, where you're really going to learn the ins and outs of comic book, making the art process, how to put it all together, we have some really wonderful guest speakers who are also going to show up, we want to keep those a little bit of a surprise. But it's going to be a wonderful, wonderful event. And that's really a big step for us, because we have our eyes on different locations as well. And we're looking to expand. So this is the first step, and then we'll continue to do so as we move forward.

Frank Hannah: 1:04:15

I think that's amazing. I, you know, it's almost nothing shocking anymore. And so if I, you know, find out next week that you're buying, like a comic book distribution company, or something, I would not be shocked at all, just because, you know, you do bold things and I think that's what is what should be encouraged. I really do believe in the thing notion of like, leap and then net will appear or be bold and mighty forces will come to your aid. And I really feel like you've you do those things. And it's more than just kind of talking the talk like you really do that. And I and I think it's amazing and that's why if I'm if I'm gushing at all it's really because I'm so impressed with the world you've created for yourself. And and the fact that it's helping other people and giving back to people in a way. That's just, that's just awesome. So yeah. So that's pretty much all I have for you. I just wanted to give you an opportunity to tell the world like what, what it is that makes you tick, and I, and I think we've kind of got a bit of that. But anything else you'd like to add? Before we close?

Anthony Marques: 1:05:39

Sure, sure. Just say if anybody's interested in the Cubert school, be sure to visit the website, Cubert school, that edu, we have a open house coming up on April 9. So you're more than welcome to come to the actual school and take a tour to be able to meet with faculty and staff and students and get some cool artwork. And we'll have some wonderful sales going on and do E's in the art store. If you're interested in those intensives Be sure to check those out online as well. Follow us on Instagram or Facebook. We're all over the place. You know, just look up Cubert school, and you'll find us for sure. As far as me I have some really cool exciting comic book news coming up. I can't say it right now just because it hasn't been announced. But it's it's really huge. And I can't wait for it to be announced. It's I think I can see it's with DC so I'm really excited about that because it's kind of brought everything full circle. Way to go. All and I just can't wait. I'm going nuts um, I love every single day I get to work on something so cool and be here at the school on top of it and just be able to share with the students and just have it have a great time and my kids at home and you know my wife and it's just a it's a great, great thing and I'm just so thankful for all of it.

Frank Hannah: 1:06:55

Well, on that note, we'll close. Thank you so much Anthony. Awesome Frankie much appreciate it. Thank you so much. No problem.