The comics work is very slow, and it basically involves working for sometimes years in isolation and not knowing how the work is going to be received.

The most impactful comics that I've read are the ones where the artists swung for the bleachers and tried to immerse you in their world.

My methodology is not knowing what I'm doing and making that work for me.

I'm sometimes a cartoonist, and there's an audience for that, and I'm sometimes an illustrator, and there's an audience for that.

The art editor in charge of the covers at the 'New Yorker' is Francoise Mouly. She's very familiar with the eccentricities and personalities of cartoonists, so working with her is very easy.

Ninety percent of the time when I'm working, there's this very palpable sensation that I'm doing everything wrong and should just give up.