You kind of hope that the events themselves are interesting. I think that's what you have to hope for, that on a broad level it's an interesting story.

Alan Moore does have a sheen of class. He's a smart guy, and I'm sure there was a metaphoric level, I'm not denying that, but let's face it. the main reason he was doing a super-hero comic was because he was working for a super-hero comic book company.

It's not so much that I got that idea at some point, it came up naturally because of the improvisational nature of the story I was telling.

The main problem was a pacing problem. I had wanted the project to be about 20-30 issues, and I should have written it out as a full script beforehand.

I consider myself a right-winger and Gray was certainly one.

You kind of hope that the events themselves are interesting. I think that's what you have to hope for, that on a broad level it's an interesting story.

People should be allowed the freedom to make their own choices. They should be able to buy or not buy porn and be monogamous or promiscuous as they see fit.

I'm planning on finishing the Gospels at some point.

I think people should have the legal right to hurt themselves without fearing that they're going to get locked up for doing so. But on a personal level, if someone I loved was hurting himself or herself in front of me, I would, of course, try to restrain them.

I Never Liked You. I think that's my best book. I think it works the best as a story, and I like the drawing. It works on both levels, for me at least.

We're not very accepting of people who act strangely.

There's a bit of debate about that; some say it was really Matthew, but the popular consensus is that Mark was the first one, so that's why I did that one first. And I was planning on doing all four.

There I was limited to what happened the same way I am with Riel. It doesn't feel like a great burden to have your story, to some degree, set. I am enjoying figuring out what I think is the most dramatic way of telling this set of historical facts.

I was looking to do something non-fiction because I had done a strip, 'My Mom Was a Schizophrenic.' I really enjoyed the process of doing that strip, despite its subject matter. To do it I'd had to do a lot of research and reading and I figured I'd like to do that again.

I think the thinking is, in the comic books, I should pack as much onto a page as possible, because, you know, it's kind of the cheaper format, and you want to give readers as much as you can for their dollar.

When I was a teenager, 'Playboy' was the most interesting magazine in the world, and not just for the playmates. I liked the interviews and the stories, and all that, but nowadays most of the stuff in there doesn't interest me.

I'd begun reading Crumb shortly before that, and other underground stuff, so that was an influence to some degree. Of course the Marvel and DC comics, they had been my main interests in my teenage years.

The counter-argument would be, so what if my sexual relationships are superficial, one can still have satisfying and rewarding relationships with friends, or parents, or siblings, or whatever.

The director is planning on titling the film 'Yummy Fur' so we are probably planning on changing the title of the book to 'Yummy Fur' to match the film.

I think politics is important. It's how we run our society. I think it should be natural to have an interest in the subject, and I almost don't understand why some people don't.

They thought they were identifying a set of behaviours, but yeah, they just wanted to have an answer.

We couldn't be making as much money, if we had to deal with stranger behaviour. And right now, anybody who slows down our economic productivity, off they go. We have a place for them, the psychiatric institution. That's the main thing, they slow things down.

The whole schizophrenia angle interested me. When I first started working on it, I thought I would play up that angle more than I ended up doing. The religious aspect of the story was also a draw.

The scientists at the end of the 19th century had people coming to them with this weird behaviour, and they didn't know what was going on but there seemed to be a similarity. They needed an answer, so they made up one.

That's the thing. in medicine, you're used to saying there's a problem within the person, and saying there's a problem within the culture, that's not a medical answer. Medicine has to look in one direction, so there's only one type of answer that they can find.

With each of those projects I wasn't thinking about how the layout would really affect the story I was working on - it wasn't the content that was affecting the layout, it was, how I wanted to draw at that point in time.

Almost every scene, I re-think as I'm about to start drawing it, and at least half of the time I'm changing dialogue or whatever, or adding scenes or different things.

PENTHOUSE didn't seem to concentrate as much on the girls' faces, and I really wanted to see the girls' faces. It seems like through the 1980's, they almost went out of their way to obscure the girls' faces.

'Penthouse' didn't seem to concentrate as much on the girls' faces, and I really wanted to see the girls' faces. It seems like through the 1980's, they almost went out of their way to obscure the girls' faces.

Even if you walk exactly the same route each time - as with a sonnet - the events along the route cannot be imagined to be the same from day to day, as the poet's health, sight, his anticipations, moods, fears, thoughts cannot be the same.

The French are the wittiest, the most charming, and up to the present, at all events, the least musical race on Earth.

A lot of people have gotten into comedy because of certain influences in their lives or events that were painful, and I really have wracked my brain to figure it out. I pretty much have had a normal childhood. Maybe it was too normal.

I've done a lot of Super Bowls and appeared in a lot of big, big events and places and the Masters and what have you, but there was nothing as intimidating as speaking with Billy Graham.

Big shows are more like events and small shows are more like traditional gigs.

I like to create imaginary characters and events around a real historical situation. I want readers to feel: OK, this probably didn't happen, but it might have.

We not only interpret the character of events... we may also interpret our interpretations.

Every person, all the events of your life are there because you have drawn them there. What you choose to do with them is up to you.

Human beings are accustomed to think of intellect as the power of having and controlling ideas and of ability to learn as synonymous with ability to have ideas. But learning by having ideas is really one of the rare and isolated events in nature.

An author who sets about to depict events of the past that have run their course is suspected of wishing to avoid the problems of the present day, of being, in other words, a reactionary.

It seems proper, at all events, that by an early enactment similar to that of other countries the application of public money by an officer of Government to private uses should be made a felony and visited with severe and ignominious punishment.

Of history, how little do we know by personal contact; we have lived a few years, seen a few men, witnessed some important events; but what are these in the whole sum of the world's past.

I, not events, have the power to make me happy or unhappy today. I can choose which it shall be. Yesterday is dead, tomorrow hasn't arrived yet. I have just one day, today, and I'm going to be happy in it.

The events in our lives happen in a sequence in time, but in their significance to ourselves they find their own order the continuous thread of revelation.

And I realized that there was no sports reporter, so I started covering sporting events.

Evil events from evil causes spring.

The reporting of news has to be understood as propaganda for commodities, and events by images.

The decathlon includes ten separate events and they all matter. You can't work on just one of them.

We are the only beings on the planet who lead such rich internal lives that it's not the events that matter most to us, but rather, it's how we interpret those events that will determine how we think about ourselves and how we will act in the future.

Which suggests something about media and war: it's not just that events happen and the media documents and presents them. There is a third element: what the public is ready to accept, what the public wants to know.