I have a very low tolerance for animation. I'm used to the perfect integrity you get from drawing your own comics. There's something about that that animation always loses.

In some ways, I never outgrew my adolescence. I wake up in the morning and think, 'Oh my God, I'm late for a math test!' But then I say, 'Wait a minute. I'm 40.

I was a very fearful little kid, and I would always see the worst in everything. The glass was half-empty. I would see people kissing, and I would think one was trying to bite the other.

I think I'm gonna attach myself to the sinking ship that is book publishing.

You can give some kind of spark of life to a comic that a photograph doesn't really have. A photograph, even if it's connecting with you, it seems very dead on the page sometimes.

Everybody just lets the media do their thinking for them... that's why you'll never hear any reggae on the radio!

I must have been 3 years old or less, and I remember paging through these comics, trying to figure out the stories. I couldn't read the words, so I made up my own stories.

I try personally not to be nostalgic.

I love the medium and I love individual comics, but the business is nothing I would be proud of.

I have this certain vision of the way I want my comics to look; this sort of photographic realism, but with a certain abstraction that comics can give. It's kind of a fine line.

Face it, you hate every single boy on the face of the Earth!" "That's not TRUE, I just hate all these obnoxious, extroverted, pseudo-bohemian art-school losers

A good library will never be too neat, or too dusty, because somebody will always be in it, taking books off the shelves and staying up late reading them.

A real friend is one who helps us to think our best thoughts, do our noblest deeds, and be our finest selves.

Our comforting conviction that the world makes sense rests on a secure foundation: our almost unlimited ability to ignore our ignorance.

The story of English spelling is the story of thousands of people - some well-known, most totally unknown - who left a permanent linguistic fingerprint on our orthography.

Our task is to look at the world, and see it whole.

Behind every brilliant performance there were countless hours of practice and preparation.

If you try to make a silent movie with a normal script and you just pull out the dialogue, you will have big problems with the actors because you will ask them to tell a story that you don't know.

The essence of painting has actually always been to make it [the universal] plastically perceptible through colour and line.

It is the things we think we know - because they are so elementary or because they surround us - that often present the greatest difficulties when we are actually challenged to explain them.

It is a constant change. Not one body is constant.