I tried to, from my very early years, I've been an inveterate movie goer and still am and I, I love the medium. So what I, what I draw and what I'm still doing, is part of that particular orientation.

A man is entitled to draw things in his own style. I didn't hurt Superman. I made him powerful. I admire Superman, but I've got to do my own style.

I'm not the sort of fellow who does the same thing all the time. I began using a lot of science fiction apparatus. I came out with the atom bomb two years before it was actually used because I read in the paper that a fellow named Nicola Tesla was working on the atom bomb.

I never had stock endings. I didn't believe in stock endings. To make the [reader] happy was not my objective, but to make the [reader] say, "Yeah, that's what would happen" - that was my objective.

Everybody can draw, in my estimation. If you give a man 50 years, he'll come up with the Mona Lisa.

I was being brought up on peasant stories; my mother came from Europe and she'd been a peasant and that was the area where the Frankensteins and the Draculas came from and it was entertainment for the people. Nobody had TV, and that was the way peasants would entertain themselves, by telling these stories.

The artist is the lowest form of life on the rung of the ladder. The publishers are usually businessmen who deal with businessmen. They deal with promotional people. They deal with financial people. They deal with accountants. They deal with people who work on higher levels. They deal with tax people, but have absolutely no interest in artists, in individual artists, especially very young artists.