Sometimes, you start with the drawing and then the gag comes to you in the middle of it. That is when you start working on the solution of the gag, which is composition, placing, equilibrium, and character design.

When you're drawing comics, you get very involved in how the story is going to develop and you spend more time daydreaming on that particular subject.

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

My work is so unorthodox that from one panel to the next, the drawings are completely different... totally opposed to the way of working in something like animation, where every drawing has to look like the one before.

My best sources are my travels and my collection of National Geographic.

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

My father was very political. But he told me, "Be very careful when you get into politics, because there's no black and white. There's an in-between in everything. So look at that side, don't take one point, because then you are negating half of the other people. Try to find the logic on a problem, something that you believe, and take the position that you believe, but be very careful about it." So I was very well trained in that aspect.