There were eleven publishers in New York City, and when it was all over, I think it went down to four or five, and then finally just the three of them, the Big Three.

What made me want to go into doing comics was I was working as a laborer with my father, a gardener.

There were eleven publishers in New York City, and when it was all over, I think it went down to four or five, and then finally just the three of them, the Big Three.

Then is when I decided to take it to Archie to see if they could do it as a comic book. I showed it to Richard Goldwater, and he showed it to his father, and a day or two later I got the OK to do it as a comic book.

I designed all the characters, anyway, and Frank Doyle was doing all the writing. I didn't have any more input on what direction they were going to go with Josie.

That's the problem today: Who is the creator?

I started working with Timely in 1946. Stan Lee hired me.

Because they feel that without them telling you to do this, you wouldn't have had the characters that you have, you wouldn't have the book that you have.

The first book that they gave me was Jeannie, a young teenager. I went on with her maybe ten books.

Then he took me off Jeannie and he gave me Millie the Model. That was a big break for me. It wasn't doing to well and somehow when I got on it became quite successful.

Once publishers got interested in it, it was a year in developing, and it was launched, I think, in 1960. But Willie Lumpkin didn't last long - it only last a little better than a year, maybe a year and a half.

I brought samples in, because I didn't have any comic book samples, and I brought all these illustrations that I had influenced by Norman Rockwell and a couple of the other big boys. That's all I had, that's all I brought.

After about twenty issues of Josie, they decided to pay me.

When I found this opportunity to answer the ad, I got the job and I've been there ever since.

You can't do nothing but try if you still got it in your heart.

I don't want to be 'box-office girl,' but I don't want to be 'that indie girl' either.

On some peculiar pigmented cells found in two mosquitoes fed on malarial.

I think poetry has lost an awful lot of its muscle because nobody knows any. Nobody has to memorize poetry.

Before I had a son, I used to look at my father's example: he left me, he left my mother. When I had a son, I got caught in the same situation that his mother don't want me to see him. I started looking at my father in a different light.

Governments need to be authorized to provide 'open bank assistance.' The convolutions of Dodd-Frank aimed at 'avoiding' this tactic are ludicrous and will prove to be extremely costly to the system.

Central bankers have had enormous responsibilities thrust on them to compensate, essentially, for the failings of the political system. And my worry is we don't have sufficient tools to do that, but we're not willing to say it.

No money on earth can buy the love and affection that has been given to me by a grateful nation.

Man does not live by words alone, in spite of the fact that sometimes he has to eat them.

When I used to play sports, I'd be the one cheering the team on, 'Come on, we can beat these guys!' That's just in me.

I used slam dunking as a tool for intimidation.

We were the laughingstock of that first season... It was with great relish several years later that I received a TV Guide award for favorite actress on television.

The only continent where social movements have led to political parties that have pushed through serious social and political reforms is in South America.

I think I've always been afraid of painting, really. Right from the beginning. All my paintings are about painting without a painter. Like a kind of mechanical form of painting.

The parts I've been most successful in are the ones I've desperately, desperately wanted.

It's a very big collaborative effort to do an animated feature and to do a Broadway show.

I feel pain everywhere. A lot of guys in chairs do feel their legs. But if you don't, there's a thing called disreflex, so you know if something happens, say, you can't feel your foot or your leg and your body reacts. You know something's not right and you survey what's going on.

I enjoy talking to people about what I do - about films, music, directors, and art. It's very strange, having to talk about yourself.

Leading from behind doesn't work.

Stand up for what you believe in, even if it means standing alone.

The more dollars the studio producers put in, the less freedom we have. If the budget hits $100m, they get scared - they'll take the existing score of a successful movie and expect composers to copy it, like wallpaper. The biggest challenge for any composer in Hollywood is to be as creative as possible within those boundaries.

Our ancestors who changed the world did so through new ideas which came to them as they acted.

I often don't see what I've done, or I cringe when I watch myself.

I really took filmmaking very seriously... It was an honor and then a crutch also, because at a young age, I was like, I guess I'm a serious filmmaker. I never set out to be a serious filmmaker. I just set out to make movies.