I know everybody wants humor to be subversive and speak truth to power. I don't think power's been listening, incidentally.

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.

Primitive, naive drawing can also be good drawing but it's hard to pull off. I don't think most submitters realize that.

I was the founder of the Cartoon Bank in the 90s. I was interested in finding ways for cartoonists to supplement their incomes.

I have a cartoon where the guy is pretty much, he's a regular-sized guy, but he's the size of the island. He's saying no man is an island, but I come pretty damn close.

I'm very fond of the strictly visual cartoons I did when I was breaking in in the 1970's. Over time I migrated to a more verbal approach.

We have to know cognitively what another mind is thinking and also empathically what they're feeling. And of course, in general, that's always the case, but it's often very generic. Like with Leo Cullum's doctor, it's just the fact that people in general are cruel and insensitive. But in the Barbara Smaller cartoon, we understand it's this particular person or this specific sub-class of person and her particular needs and desires, and that's different than a pun cartoon in which it's just semantic.