I try personally not to be nostalgic.

Writing a screenplay, I'm like, "All I'm responsible for is that final script, and I take great effort and pride in that." But once I give it to someone to make, I can disassociate with it entirely and not worry that my vision isn't being represented, because I understand fully that that's not how it works.

Though to the average person that you'll meet on an airplane, if you tell them you draw comics, they'll still have sort of the same response - not like that's seeped into the culture at large, that comics are not just for kids.

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'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.

My feeling is that it's one of the very few things that comics can do that you really can't do in any other medium. I feel like the reader accepts all of these styles, and after a certain point you can flip the pages and see a character rendered very differently than you saw on an earlier page, and it's not jarring. It suggests things that you can't suggest just in the writing or in the plotting.

In an art school it's very hard to tell who is the best.