I Try Personally Not To Be Nostalgic.

Usually When I Put Together A Book Like This Death-ray Hardcover Or That Ghost World Special Edition, Then I Have To Reread It And See If There Is Anything I Want To Change Or Any Re-coloring I Want To Do. That's When I'm Faced With The Actual Work. When I'm Working, I'm Too Close To It. I'm Sort Of Inside, And I Can't See It At All. So When I Have That Experience Of Rereading It Years Later, It's Jarring.

Writing A Screenplay, I'm Like, "all I'm Responsible For Is That Final Script, And I Take Great Effort And Pride In That." But Once I Give It To Someone To Make, I Can Disassociate With It Entirely And Not Worry That My Vision Isn't Being Represented, Because I Understand Fully That That's Not How It Works.

Surely Comics Require More Effort On The Part Of The Reader Than Movies Or Television. I'm Always Learning New Things You Can Do With Comics That Wouldn't Work In Any Other Medium, And Often They Require The Need To Process A Lot Of Dense Information. Of Course, The Trick Is To Make The Complicated Seem Effortless And Spontaneous.

There Are Certain Comics That Just Seem Like They Have This Perfect Balance Between Dialogue And Image That I Can't Not Read. I'll Want To Save It For Later, And The Next Thing I Know, I'm Reading It. That's What I'm Kind Of Trying To Do With My Comics.

I Have Cultivated A Little Crew Of People Whose Opinions I Understand. It's Like The Way You'd Follow Certain Film Critics Because You Know What Their Criteria Are, And You May Not Agree With Them, But You Can Glean From Their Opinion How You Will Feel About A Film.