I feel that my characters all have some part of my character. I feel that they're all me in some way, certainly not in individuality, but they all bear elements of what I feel.

I get a lot of comics, and I can look at a comic and tell immediately whether I'll enjoy it or not. There are elements in the stories that I have no rapport with. I see dirty language, I see sleazy backgrounds; I see it reflected in the movies, the movies are comics to me. And I don't see a sleazy world. I see hope. I see a positive world.

If you're a thorough professional, and they won't let you do a professional job, nobody's going to benefit from it. The people who produce it won't benefit. The people who buy it won't benefit from it. They're going to get a half-assed product.

You had to grow up sometime. The fellows who grew early, they were in jeopardy. They became the cops and the crooks, and the crooks became the gangsters. The crooks became the Al Capones.

I wasn't the kind of student that Pratt was looking for. They wanted patient people who would work on something forever. I didn't want to work on any project forever. I intended to get things done.

An artist has to be humble, an editor must be officious, and a publisher must be somewhere out in the galaxy enjoying godhood. It was a caste system, pure and simple. And it was accepted that way. Nobody thought of contracts, nobody thought of insisting on better deals.

I always enjoyed doing monster books. Monster books gave me the opportunity to draw things out of the ordinary. Monster books were a challenge - what kind of monster would fascinate people?