I didn't have an affinity for horror. But I knew that commercially it was viable.

Everybody was wary. This was a time when communists marched through the streets, waving flags and shouting. The unions did the same thing so you began to associate them.

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'm not interested in the ego trip of creating or not creating. I'm interested in selling a magazine. Rock-bottom, I sell magazines. I'm a thorough professional who does his job.

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.

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.

Mort Meskin was a consummate professional, dedicated to his work. A great talent.