Going Underground

"I don't have any feeling of my place in the world; it's just like I'm living with this blank slate. Of course, I grew up thinking of myself as an outsider because I wasn't in the in crowd in high school like everybody else, but now I don't know what I'm in." – Daniel Clowes, Salon, December 2000

Daniel Clowes may still feel like an indefinite outsider of sorts when he goes to bed at night, but it's getting harder every year for the rest of us to ignore the fact that the soft-spoken artist is on the inside track to becoming one of underground comics' most decorated figures. After all, we're talking about an artist whose signature comic series, "Eightball" – the wry, moving 23rd issue of which is out now from the stellar Fantagraphics publishing house – had already snagged all the major industry awards, including the Eisner, Harvey and Ignatz, around the time he was nominated for an Academy Award in 2002. The latter was an honor Clowes shared with director Terry Zwigoff for the screen adaptation of “Ghost World,” the hilarious but poignant film based on his "Eightball" selection and subsequent graphic novel of the same name. But if you think all of that has gone to his head, think again.

"That kind of stuff is such a long shot and so unlikely," Clowes explains, "And the films that win the Oscar are usually not ones that I'm particularly interested in. If I was thinking of writing an Oscar-winning film, then I would probably put in stuff that I don't really like. It seems that you could consciously write that kind of film, and I think people do, but it would be a stupid one."

“Ghost World” was anything but stupid. In fact, it was one of the sharpest condemnations of America's banal pop-cultural appropriation of subculture and strangeness since Alex Cox's ridiculously underrated “Repo Man” – and just as funny. Besides finally affixing the Hollywood spotlight squarely on Clowes and comics not involving superheroes in spandex, “Ghost World” also solidified the artistic symbiosis between Clowes and Zwigoff, the director behind “Crumb,” the canonical 1994 Grand Jury Prize-winning documentary on alt-comix lifer Robert Crumb and his exceedingly unique family. To mangle “Casablanca,” Zwigoff and Clowes' synergy on “Ghost World” spawned a beautiful relationship, and the two quickly reunited for the upcoming film “Art School Confidential,” a smart-ass satire of the scene-saturated art world based on, you guessed it, another one of Clowes' "Eightball" strips.

"With 'Ghost World,' neither of us had ever made a feature film," Clowes, who lives in Oakland, Calif., says. "Terry made documentaries, which in some ways are about as close to making a film as drawing comics are. We both had our specialized outside knowledge that we brought to the table, and we learned from each other how to make a feature film. So by the time we started working on 'Art School Confidential,' we were both bringing more than we did to 'Ghost World.' I think that now we both have a lot more experience and the knowledge of what's going to work in the editing room, what will actually be funny, moving and meaningful. I feel like this is a much more accomplished film from both of us."

That growth will be needed now that the world has become more and more familiar with underground icons like Clowes, Crumb and Harvey Pekar, whose own “American Splendor” series served as the basis for yet another indie comic-based Oscar-nominated film in 2003. Indeed, today's savvy audiences will no doubt demand a certain amount of hard-fought credibility from “Art School Confidential,” one untarnished by what comics aficionados often regard as the dominant culture's attempt to appropriate a fiercely guarded independence. As Enid (Thora Birch) tells Becky (Scarlett Johansson) in “Ghost World” after the latter complains about all the "creeps, weirdos and losers" that come into her gentrified coffee shop daily, "Those are our people." But for how much longer?