If I do a picture, I want the audience to be the people I was just packed against on the subway or on the street, walking on Fourteenth Street. I don't want it to be some narrow public that I myself feel alienated from.

When I was in my early twenties I was doing tenant organizing - rent strikes, specifically - in my building. I think that was how I started doing poster art. It was something very concrete.

Having your work in a museum is something we as artists aspire to, but I don't think that's something we need to worry about while we're alive.

Artists always live in the cracks anyway, whatever culture they're in. They're usually accustomed to not having much money, to kind of roughing it.

I'm accustomed to just working by myself, alone in the room and cranking up the music and just working and getting all into an obsessive state where I'm focused on this thing, and it's the one thing that I feel like I may have a little bit of control over in my life.

There's the fact that animation is extremely time-consuming, tedious, labor-intensive, and therefore, extremely expensive as an art form to really do it right, to really do full animation.

I find it very difficult to be funny, it's much easier to do tragedy than it is to do comedy.