I knew how to draw all of the different smokestacks on the old trains and all that stuff, and then I realized that if I can draw trains, which is the thing I was probably the least interested in in the world at the time, I can do anything and find a way into it that will be interesting.

If I could have somehow been the kind of artist who could crank out two or three issues a year, that's different. That's sort of what it's all about, to get this thing out so that there's some kind of continuity. But to do a comic book every year or two was just so anti-climactic.

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.

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've felt that in the past, where I just felt like I had to keep drawing in the same way to maintain this sameness and rhythm throughout an entire book, and it was not really necessary.

It's a challenge to express real life in dramatic terms. In an entirely "made-up" story, you are sometimes overwhelmed by the infinite possibilities.

It keeps me moving when I see people doing stuff that I see as "my" direction. I think, "Oh, it's been tainted. Now I've got to do something new." There's nothing worse than working on your own stuff and thinking that someone else is following you along.