I love the medium and I love individual comics, but the business is nothing I would be proud of.

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.

More and more, I tried to make comics in the way I like to read comics, and I found that when I read comics that are really densely packed with text, it may be rewarding when I finally do sit down and read it, but it never is going to be the first I'm going to read, and I never am fully excited to just sit down and read that comic.

You try to make the world a better place and what does it get you? I mean, Christ, how the hell does one man stand a chance against four billion assholes?

I enjoy the opportunity to use swear symbols. The reader reads into them something worse than what you normally would have. They work as this outburst of incoherent anger. I've found ways to write around swearing that are much more effective, rather than going for what someone really would say.

Something I always wanted to do, to capture that later half of the '70s. It's like the early half of the '70s is still the '60s, in that there's still kind of a playfulness and inventiveness in terms of design and the things that were going on in the culture. The second half, it got much more commodified. It's possibly the ugliest era of architecture and clothes and design in the entire 20th century, from 1975 to '81 or '82.

I started drawing at a very young age. Writing a story wasn't satisfying, but to actually draw our own world - it's like controlling your own dreams.