Comics are so full of amazing work. And I can’t look at a drawing of a woman without thinking of, for instance, Wallace Wood and his amazing way of capturing beauty.

Nancy's got a guardian angel. Seven feet plus of muscle and mayhem that goes by the name of Marv.

It's one thing to be sitting at a drawing board, alone in your home and coming up with a fantasy character, and drawing her whichever way you feel like drawing, then dealing with a real performer. All of a sudden, things change. It's amazing, in working with actors, how much I learn from them and how many new lines will come to mind because of their personality or their strengths.

I grew up on the crime stuff. Spillane, Chandler, Jim Thompson, and noir movies like Fuller, Orson Welles, Fritz Lang. When I first showed up in New York to write comics back in the late 1970s, I came with a bunch of crime stories but everybody just wanted men in tights.

A screenwriter is much like being a fire hydrant with a bunch of dogs lined up around it.

You don't... get it, boy... This isn't a mudhole... it's an operating table. And I'm the surgeon.

As a cartoonist, I'm a caricaturist. First you find out what somebody really looks like, and then you find out what they 'really' look like.