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.

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.

I don't like being recognised, I have no interest in being famous at all, I just do what I do. If I could be like Captain Kirk and beam myself up and then beam myself down, I would!

Judaism has always been a strong interest of mine. My two sons speak Hebrew and are familiar with the scriptures and with rabbinic literature. This is the way we live.

It is the interest one takes in books that makes a library. And if a library have interest it is; if not, it isn't.

I'm thinking of going to programming school. Learn how to sit down at any computer and learn to do anything on it. That's all I have left and have interest in.

I don't have a strong interest in history.

I'm not up on today's television for children, because it's mostly cartoons that don't seem to interest me.

It was clear that the special interest groups in California really wanted the Chinese to be shut out of the country, because that was where the racial tension was the greatest.

I think that the quality of all bands is steadily improving and it is a pleasant thought to me that perhaps the efforts of Sousa's Band have quickened that interest and improved that quality.

Warren Beatty took an interest in my career at one point.

Neither these statesmen nor their constituents sought in any way to use the Government for the interest of themselves or their section, or for the injury of a single member of the Confederacy.

I had given up the guitar between '75 and '78. I completely lost interest. I was sick of hearing other guitar players and I was tired of my tunes.