Humor is basically a cognitive process. And it's a creative process not only on the part of the cartoonist but on the part of the viewer.

Each cartoon needs the right amount of wrong.

Humor levels the playing field. I understood that early on - that was something I had.

None of the cartoons that I ever did are basically, if they're about sex, they're about sex in sort of this, you know, this ironic way, or the way that people actually treat it.

There's usually nothing in a guy's joke in which we have to understand what's going on in someone else's mind.

Cartoons, often, that you do for the New Yorker don't appear for months afterwards, and the record for that is a cartoon that was bought by James Stevenson in 1987 and didn't appear until 2000.

I think The New Yorker's cartoons aren't very political because the people who do the cartoons aren't awfully political people, and they aren't paid to be political. I think editorial cartoonists are. That's what they do. They probably have a great natural interest in politics, and then they are paid to do it, so they sort of have to hunt out these ideas. I admire editorial cartoons, but I'm also sort of happy that I don't do them because I'd hate to have to label things and I'd especially hate, more than anything, to label something Dennis Hastert or Mark Foley.