I learned to distrust writers who talked about how they squeezed the blood onto the typewriter. They just don't want you to know how much fun they have - you'll resent it.

I've never met a cartoonist who isn't quirky or weird in some ways.

Remember when you were a kid and the boys didn't like the girls? Only sissies liked girls? What I'm trying to tell you is that nothing's changed. You think boys grow out of not liking girls, but we don't grow out of it. We just grow horny. That's the problem. We mix up liking pussy for liking girls. Believe me, one couldn't have less to do with the other.

The city keeps reinventing itself. And each generation thinks, as they enter it, that they've missed the best of it, and then they become the authors of the next "best." And so it goes on and on and on. And New York keeps redefining itself and reinventing itself, and then you look at it and it's pretty much the way it was back in the 1920's., or in the 1930's. Something stylistically different in some ways, but it's still got the same vitality.

I told the doctor I was overtired, anxiety-ridden, compulsively active, constantly depressed, with recurring fits of paranoia. Turns out I'm normal.

Cartoons were very conservative. The country was very conservative. Although the liberals were allegedly in charge for a long time, there was a very acceptable balance what people would talk about in public. And I wanted to stretch those and move further out. And as the civil rights movement began, I started doing cartoons on that and on sit-ins and I was, along with Bill Mauldin, a great cartoonist out of World War II, arguably one of two white cartoonists doing this kind of work, Bill and me.

When I write a play, my whole intent at bottom is to get the audience to be in the cast, to get that audience on stage with the actors and to get them thoroughly involved in what's going on.