I found it was my good fortune to somehow be able to work in these forms that I loved when I was a kid. I love movies and I could write screenplays. I love theater and I could write plays. I mean, they would be my own, I could never write what was used to be called the well-made play. But my first play, "Little Murders," turned out to be a great success and a great influence on plays at that time.

That was exciting to be able to comment on civil rights. I mean, the civil rights movement that young people don't know about today, but Martin Luther King was considered by the establishment press in the early years of the sit-in movement as a dangerous man, and he was the equivalent at that time as Malcolm X. And he was told to stop his demonstrations; they were against the law and all of that. Now that he's sainted and sanctified we've forgotten.

Over the years, I discovered over and over again that once you lose control, you have a chance of getting good at it. And once you're controlling the work, it's not going to be very good, or it won't be as good as it should be.

Design is important because chaos is so hard.

My success was the shock of recognition, probably, rather than the quality of the work. I mean, the quality may have been fine, but there's a lot of fine work out there. It was the fact that I was doing something that at that time, nobody else was doing, except for say, Mort Saul out in San Francisco on The Hungry Eye, and "Second City" was emerging out in Chicago. Nothing in print. It was basically happening in cabaret and nothing in fiction. And certainly nothing in New York in cartoons.

Imagination continually frustrates tradition; that is its function.

The artwork had very little to do with the thought process, and the writing too, for that matter. What happens, happens, and it happens outside the brain.