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.

It's much more liberating as a artist to feel like you can approach each page and each panel with the way that inspires you the most. I think the thing that bogs down a lot of artists is that you're kind of stuck drawing in a style you've developed.

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

I never feel there's anything I can't do with comics. There are certain things in comics that you can't do in any other medium: for instance, in Mister Wonderful, Marshall's narration overlaps the events as they're going on. That would be difficult in film; you could blot speech out with a voiceover, but it wouldn't have the same effect. That's always of interest, to see what new things you can do in comics form.

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.

The secret to being alone is to organize your time; to develop habits and routines and gradually elevate their importance to where they seem almost like normal, healthy activities.

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.