I try to only work on the screenplays for a few hours a day when I'm in my most voluble mood, just sort of writing whatever comes into my head. It's a very freeing thing.

You need to be, like, turning down high-paying illustration work because you want to work on your comic. That's when you know you're doing something good.

I'm a fan of parchment and wood pulp.

I have a very low tolerance for animation. I'm used to the perfect integrity you get from drawing your own comics. There's something about that that animation always loses.

For example, I noticed that every single kid in the high school in 'The Death-Ray' is based on somebody I went to high school with.

I'm always looking for things I imagine must exist, but don't - this is usually the impetus to create that thing myself.

I like to leave a little room to innovate and change things around while I'm working.