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«I'd like to have the opportunity to draw this strip for years and see where it goes. It's sort of a scary thing now to imagine; these cartoonists who've been drawing a strip for twenty years. I can't imagine coming up with that much material. If I just take it day by day, though, it's a lot of fun, and I do think I have a long way to go before I've exhausted the possibilities.»

«Amazingly, much of the best cartoon work was done early on in the medium's history. The early cartoonists, with no path before them, produced work of such sophistication, wit, and beauty that it increasingly seems to me that cartoon evolution is working backward. Comic strips are moving toward a primordial goo rather than away from it . . . Not only can comics be more than we're getting today. but the comics already have been more than we're getting today.»

«The syndicates take the strip and sell it to newspapers and split the income with the cartoonists. Syndicates are essentially agents. Now, can you imagine a novelist giving his literary agent the ownership of his characters and all reprint, television, and movie rights before the agent takes the manuscript to a publisher? Obviously, an author would have to be a raving lunatic to agree to such a deal, but virtually every cartoonist does exactly that when a syndicate demands ownership before agreeing to sell the strip to newspapers.»

«If you have the personalities down, you understand them and identify with them; you can stick them in any situation and have a pretty good idea of how they're going to respond. Then it's just a matter of sanding and polishing up the jokes. But if you've got more ambiguous characters or stock stereotypes, the plastic comes through and they don't work as well. These two characters clicked for me almost immediately and I feel very comfortable working with them.»

«The whole pleasure for me is having the opportunity to do a comic strip for a living, and now that I've finally got that I'm not going to give it away. . . . Any time somebody else has their hand in the ink it's changing the product, and I enjoy the responsibility for this product. I'm willing to take the blame if the strip goes down the drain, and I want the credit if it succeeds. So long as it has my name on it, I want it to be mine.»

«Obviously the great thing about this job is the complete freedom of the schedule. So long as I meet the deadline, they don't care when I work or how I work. Sometimes I work all day if I'm under a crunch; I take a day off here and there if I have something else pressing or if I'm just tired of what I'm doing . . .»

«If someone wants to be a cartoonist, let's see him develop his own strip instead of taking over the duties of someone else's. We've got too many comic strip corpses being propped up and passed for living by new cartoonists who ought to be doing something of their own. If a cartoonist isn't good enough to make it on his own work, he has no business being in the newspaper.»

«The world of a comic strip ought to be a special place with its own logic and life... I don't want the issue of Hobbes's reality settled by a doll manufacturer.»

«I think we dream so we don't have to be apart so long. If we're in each other's dreams, we can play together all night.»

«I suppose if we couldn't laugh at things that don't make sense, we couldn't react to a lot of life.»