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.

You can give some kind of spark of life to a comic that a photograph doesn't really have. A photograph, even if it's connecting with you, it seems very dead on the page sometimes.

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 think a comic looks better in the magazine. The colors are designed to be on paper, not illuminated on screen. I don't like the aspect of people reading it for free. When people get things for free, they tend to not take them as seriously. But I don't know. I'm sure 10 times more people are reading it online than in the actual paper.

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.

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.

I'm a fan of parchment and wood pulp.