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.

I live in a very small town and now that I've closed down my studio, I'm working at home.

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.

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

If a cat had a halo, it would probably wear it around it's tail. It makes a statement.

A comic book is the opposite of a cartoon. In a cartoon, you want to simplify the idea, so when they look at it at a glance, they get it. Boom. Simple. Direct to the point. But when you're drawing Groo, now it's a narrative, a story. You want the viewer to get involved in the story. You want him to feel like he's in the town to follow your main character. So I love to add lots and lots of things in it. Things that people will enjoy going back to and say, "Oh yeah, that's how a market must have looked in this fantasy world, with people selling meat here and dishes here."

I think that true horror is accomplished by slowly getting into your brain. The old way is much more scary.