Comics seldom move me the way I would be moved by a novel or movie.

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 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.

For me, the whole process involves envisioning this Ghost World comic book in my head as I'm working.

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 really want people to read the book, and bookstores never sold an issue of Eightball because nobody knew what it was.

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.