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.

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

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.

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

Suspense is very important. Even though this is humor and they're short stories, that theory of building suspense is still there.

Many of the American cartoonists that want to have a job and go so much for the total right without thinking, sometimes they get a slap on the face when their politician lets them down. So it goes on and on. The thing is staying in the middle and not getting committed, trying to get the best of both and do that with a sense of humor.

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.