At the end of the '60s, I was trying to enter the world of comics.

When I'm drawing a bottle or a town or a market, I transport myself there. So I start drawing everything that I'm looking at while I'm there. Here's a guy selling the meat, and he will have a hook, and you start adding things, and it's a lot of fun.

I keep very weird hours. I never know when I'm going to get an idea.

I don't enjoy the boo scare when you're watching a movie and then suddenly there's a big shark on the screen. The only thing they're doing is catching you off guard.

Once you've established where you are, you go to the character and elaborate on expressions and action.

When sadness happens in the middle of work, I separate my personal grief from my train of thought.

If the gag is complicated, you spend more time thinking about the way you’re drawing it.