People who can pull you in and take you on a journey, as opposed to simply adding flash. Again, that feels very clinical, and I don't respond to that the way I used to.
That was a real learning element for me, because I realized that the more true you are to yourself, the more you will lose people.
There is a whole generation of people who are going to see movies or watch TV who don't want to work.
Comics are really my life blood in a lot of respects.
So cartooning, for me, is an honorable thing. It's pushing the envelope. It's the truth of something through exaggeration.
After that I jumped, especially being in art school, to the illustrators.
I still love a lot of the guys who just paint.
To me, that's one of the things that I love about doing this stuff. One day I can work on this piece in watercolor, and then work on something else on the computer, or work on something else that's a completely different approach.
One of the problems I have with a lot of movies these days is that everything is too well lit. In the world of digital creations there is a tendency to show too much.
Like Godfather, you look at a movie like that, or something that James Gray has directed, a film with minimal or pin lighting as opposed to everything being lit bright and flat, where everything is evident.
But if I really want to produce my own work and tell stories, then I will.
I wanted to learn how to paint rather than just doing black-and-white work.
Kyle Baker's work is really funny, but it's also got a very clear vision.
So much of Jaws was amazing because the mind filled in what was missing.
But with comics you're reading and assimilating an image simultaneously, instead of just reading or watching the tube.