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 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.

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

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

I'd love to do a whole series of stories and have them collected into books.

Anyone can write a story based on the kind of horror where you see a guy in car and then there's the bad guy in the back seat. It's infantile to rely on that for telling a story. That's like going to bed and thinking there's a monster under your bed. It's silly.

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.