Whatever New York loses, if you go to other cities around the world, or around the country, New York still has a kind of energy level you find nowhere else. Paris doesn't have it, London doesn't have it, San Francisco, a great city, doesn't have it.

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.

I think a play can do almost anything, because it's also a static form, much more so than in a movie. In a movie you can move the scenery, you can do anything any way. A cartoon, happens in a limited amount of space and a limited amount of time, and you can only get so many words before the reader's gonna get impatient. All of these forms that I enjoy are in a sense a slight of hand, where you have to suggest much more than you really show. You have to, in a sense, seduce the reader and trick the reader or the audience into going with you.

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.

I grew up to have my father's looks, my father's speech patterns, my father's posture, my father's opinions, and my mother's contempt for my father.

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