I've felt that in the past, where I just felt like I had to keep drawing in the same way to maintain this sameness and rhythm throughout an entire book, and it was not really necessary.

You can give some kind of spark of life to a comic that a photograph doesn't really have. A photograph, even if it's connecting with you, it seems very dead on the page sometimes.

I'd always wanted to do a weekly strip, or a strip that was in installments like that. It's been fun trying to figure out how to make that work. Their standards are so prissy that they won't allow me to use all kinds of language. Not only can you not swear, this morning I was informed I couldn't use the word "schmuck." I couldn't use "crap," "schmuck," or "get laid." Those three were beyond the pale. But you get around that, and it comes out better. I can't quite explain why.

I had no television when I was little, just a stack of old, beat-up comics from the 1950s and 1960s.

The trouble is the kind of guy I want to go out with doesn't even exist... Like a rugged, chain-smoking, intellectual, adventurer guy who's really serious, but also really funny and mean.

I believe in the transformative power of cinema. It is only through this shared dream-experience that we can transcend the oppressive minutiae of daily existence and find some spiritual connection in the deeper reality of our mutual desire.

I never feel there's anything I can't do with comics. There are certain things in comics that you can't do in any other medium: for instance, in Mister Wonderful, Marshall's narration overlaps the events as they're going on. That would be difficult in film; you could blot speech out with a voiceover, but it wouldn't have the same effect. That's always of interest, to see what new things you can do in comics form.