When I go back and reread the stuff, I'm always floored by how deeply personal and revealing it actually is.

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.

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.

Film is a director's medium, and a film set is a complicated military structure - I have to keep reminding myself to stay in my place, or all will burst into chaos.

I had no television when I was little, just a stack of old, beat-up comics from the 1950s and 1960s.

I have this certain vision of the way I want my comics to look; this sort of photographic realism, but with a certain abstraction that comics can give. It's kind of a fine line.

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.