I think if you had different artists approaching the material in different styles, that's very different. I think it's an interesting thing to discover, what's present in the work even when you're shifting the styles. I've just found it a much stronger way to work.

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.

I don't read much of anything online.

If I could have somehow been the kind of artist who could crank out two or three issues a year, that's different. That's sort of what it's all about, to get this thing out so that there's some kind of continuity. But to do a comic book every year or two was just so anti-climactic.

I was a very fearful little kid, and I would always see the worst in everything. The glass was half-empty. I would see people kissing, and I would think one was trying to bite the other.

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

In a movie, you have to be mindful that no budget is going to be able to deal with running around the globe at every whim of the writer.