If I could have drawn a cat yelling for lasagna every day for 15 years and have them pay me $30 million to do so, I would have.

I happen to think nearly everybody - especially those one might find in the odd issue of 'People' magazine, including me - is frightfully boring, especially me. And Tom Cruise. Tom and I are alike in only this way.

Doonesbury had the requisite and overwhelming influence in 1980, as it did on any college cartoonist who was paying attention, of course.

I can say that even in the midst of my most cynical comic stripping: Opus shone through with a bit of heart, anchoring the ugly proceedings with a comforting pull of emotion.

Irony can elude the genius among us, sometimes.

I could draw Bloom County with my nose and pay my cleaning lady to write it, and I'd bet I wouldn't lose 10% of my papers over the next twenty years. Such is the nature of comic-strips. Once established, their half-life is usually more than nuclear waste.

It was a huge challenge to learn digital painting well enough so that computers don't pop into mind when one sees one.