You're being mean to someone who's helping you. What is that? Everyone knows who the assholes are, and I avoid them.

Usually I'm thinking about the palette. I'm thinking about the color for the most part, then I'll start thinking about composition and movement.

In Full Frontal and K Street, I learned to take advantage of the mobility that digital provides.

Surprisingly, I don't throw away that much. I don't move forward with a lot of things unless they're going somewhere. You also have to remember that when you're working with other artists, you have to be really careful about how you deal with that stuff.

I'm not going to spend two years of my life on something that I'm not excited about.

It's a weird thing to say, but it would appear to me axiomatic that if you understood fully what I was doing and appreciated it, you would like it.

What's great about things like Kickstarter is that it enables me, finally, and without any bad feeling at all, when people come up to me now saying, "I want to do this." I can just go, "There are no excuses anymore."