I still love a lot of the guys who just paint.

I still love a lot of the guys who just paint.

I wanted to be complete, because I figured that, visually, there was an avenue to explore with painted stuff.

People who can pull you in and take you on a journey, as opposed to simply adding flash. Again, that feels very clinical, and I don't respond to that the way I used to.

Comics are really my life blood in a lot of respects.

Nothing is really media driven or committee driven, so you can actually just produce something.

If somebody can inspire me, it feels really special.

And I've never viewed comics as assignments for the client.

So cartooning, for me, is an honorable thing. It's pushing the envelope. It's the truth of something through exaggeration.

For a while I felt very alone; sort of out there in the world of comics, especially here in the States.

There is a whole generation of people who are going to see movies or watch TV who don't want to work.

So much of Jaws was amazing because the mind filled in what was missing.

You're telling the story, creating the sets, doing the lighting, the designing, and establishing the pace.

To me, that's one of the things that I love about doing this stuff. One day I can work on this piece in watercolor, and then work on something else on the computer, or work on something else that's a completely different approach.

But if I really want to produce my own work and tell stories, then I will.

So, when the special effects are at the service of the story and draw you into it, that is really the magic.

I want to say 90% of stuff out there is just crap that got made. The main point is that it got produced.

I wanted to learn how to paint rather than just doing black-and-white work.

It's interesting, because in the corporate stuff there's a dichotomy there, depending on the creator. Even what, in essence, may be a very safe corporate approach, there is some stuff that is allowed to be pushed.

So there's kind of a simultaneous aspect to pushing the boundaries, and being very safe.

And that, to me, is the main attraction to comics. It's an avenue to say what you want to say.

I was lucky enough to be given books that weren't top sellers; books that were kind of under the radar.

One of the problems I have with a lot of movies these days is that everything is too well lit. In the world of digital creations there is a tendency to show too much.

I didn't want to feel constrained, so I took on the Mutants.

To me, the technique was almost irrelevant; it was what was coming across.

But I'm aware of the fact that I'm working in a commercial venue where I'm producing something that I wouldn't normally be approaching the way I'm doing it.

So I look at a lot of stuff now that I did and some of it looks tame to me, but my interest in terms of what I want to say with it is a little different.

Kyle Baker's work is really funny, but it's also got a very clear vision.

But there's still an avenue for smaller comics and personal expression.

But with comics you're reading and assimilating an image simultaneously, instead of just reading or watching the tube.

After that I jumped, especially being in art school, to the illustrators.

Especially with Elektra, because I'm doing a lot of the covers for the new version of Elektra.

Like Godfather, you look at a movie like that, or something that James Gray has directed, a film with minimal or pin lighting as opposed to everything being lit bright and flat, where everything is evident.

Cartooning is an honorable thing.

Do the story in the way it really demands to be done, which may mean using several different styles or only one style; but it's still about respecting the story.

If you're going to establish a certain level of unreality than you have to deal with it.

That was a real learning element for me, because I realized that the more true you are to yourself, the more you will lose people.

So much of 'Jaws' was amazing because the mind filled in what was missing.

We assume that celebrities have it easy and so love to watch them having to endure a bit of hardship.

I love Nautilus and stretching. The results are immediate, and that gives me the motivation to continue.

I am a ordinary teenager. I fall in love like everyone else.

I don't call you handsome, sir, though I love you most dearly: far too dearly to flatter you. Don't flatter me.

The essential elements of giving are power and love - activity and affection - and the consciousness of the race testifies that in the high and appropriate exercise of these is a blessedness greater than any other.

My mother keeps things in perspective for me. She makes me realize that the acting I do and love is no more important than what one of my brothers does-he works in a shoe repair shop. If my career ever tapers off, I'll go to college.

Actors love mental disorders, dialects, and corsets. Give them one of the three and they're happy.

My goal is, of course, for this show to do well, and I would love it if people liked it.

I love living on that stage. Without that, I'd die.

I love my DSL, but I love my WiFi more. And I probably get on the Internet 40 percent to 50 percent more because of the combination of those technologies.

But I love New York. I used to set my alarm clock when I was there, and get up at 4am and get a coffee, just because I could.