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.

I seemed to have instinctually a strong idea of how the strip had to be written from the beginning. That changed too, but it was more in the direction of where it was headed. I didn't have a clue as to the drawing style, because the drawing style that I was groomed on from the beginning was newspaper comic strips, which were much more conventional.

There's some brain damage, but it may be that very brain damage that allows me to do the work I do.

When you do the kind of work I do, everything is challenging, but probably the most challenging thing is getting up in the morning and getting on with it because it's so easy to stay in bed and not get on with it.

We want playmates we can own.

Artists can color the sky red because they know it's blue. Those of us who aren't artists must color things the way they really are or people might think we're stupid.

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.