When you talk about state of the art, that doesn't mean a damn thing. Think about it. State of the art. "This is the state of the art brush from Winsor-Newton." Yeah, but the state of the art sucks rubber donkey lungs.

If you ever go to talk to an editor you don't want to be able to turn down a job because you can't do what is necessary.

During the Mavelmania days in the late '60's I got a phone call one evening and I answered it and this voice said, "Mike Royer? This is Jack Kirby. Word is you're a pretty good inker." That's how it started.

I like to think that I gave Jack Warner Brothers inking and Joe Sinnott gave him MGM inking. If you're not as in love with old movies as I am you might not make that connection, but I can see that connection.

I sometimes look at the careers of other... I guess I could call them contemporaries or maybe close artists; you know, the 4 or 5 guys who go to New York City and get a loft and work together and use each other as models and that sort of thing and wait for years and years to get married. Maybe I just wasn't that definite.

I assisted with Russ [Manning] for about eleven months and my day job for 5 days a week was credit manager and paint salesman for Sherwin-Williams.

I remember on a Friday afternoon getting a phone call from Grant Simmons saying, "Mike," we got to be pretty good friends; "Mike, the Sheriff is closing us down on Monday. If you'd like to drive into the studio tomorrow morning, you can have anything you want." So rather than go in and take home piles and piles of cels of Spider-Man what did I take home? Two pages of original art that got sent out to the west coast. Now of course if I'd have taken all the rest of that stuff home I could probably have retired a lot earlier.