Cartooning is about deconstruction: you gotta tear something down to make a joke.

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

I drew the last image ever of Opus at midnight while Puccini was playing and I got rather stupid. Thirty years. A bit like saying goodbye to a child - which is ironic because I was never, never sentimental about him as many of his fans were.

I hate smoothies. Because they won't offer Firestone IPA beer as an ingredient.

It's not terribly dignified to have anyone seeing one laugh at one's own material.

The cartooning was always just an abstraction. It was an income. It was making me famous. It was allowing me to go and do other things that I'd wanted to do.

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.