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.

Usually when I put together a book like this Death-Ray hardcover or that Ghost World special edition, then I have to reread it and see if there is anything I want to change or any re-coloring I want to do. That's when I'm faced with the actual work. When I'm working, I'm too close to it. I'm sort of inside, and I can't see it at all. So when I have that experience of rereading it years later, it's jarring.

When I go back and reread the stuff, I'm always floored by how deeply personal and revealing it actually is.

I've had a real lucky time working in Hollywood. I've talked to other screenwriters, and they're all kind of beaten down and their spirits are crushed, because they work on these screenplays and these projects, and then directors either take them and change everything, rewrite them and make them worse, or they film them and they're nothing like how they imagined it to be.

Surely comics require more effort on the part of the reader than movies or television. I'm always learning new things you can do with comics that wouldn't work in any other medium, and often they require the need to process a lot of dense information. Of course, the trick is to make the complicated seem effortless and spontaneous.

I originally just wanted to be an artist.

It keeps me moving when I see people doing stuff that I see as "my" direction. I think, "Oh, it's been tainted. Now I've got to do something new." There's nothing worse than working on your own stuff and thinking that someone else is following you along.