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.

I feel like a lot of my aesthetic was in response to feeling the awfulness and cheapness of that [ the 70'th].

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 know if a book is crazy or not. There's that fear - this is the one that will end it all.

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 don't read much of anything online.

It's embarrassing to be involved in the same business as the mainstream comic thing. It's still very embarrassing to tell other adults that I draw comic books - their instant, preconceived notions of what that means.