Comics are a particularly esoteric field where you really learn how to do it, by doing it or by learning from other practitioners.

I always start drawing any job by planning out to some degree the locales and trying to nail the characters. If they're existing characters, I'll draw them several times on rough paper just to get a feeling for them. The ideal when you're drawing a comic is to have everything in your head, not to have to refer to notes.

When I first came to New York City, what I was thrilled about was not the Empire State Building, or the Statue of Liberty; it was the fireplugs in the street. These things that Jack Kirby had drawn. Or these cylindrical water towers on top of buildings that Steve Ditko's 'Spider-Man' fights used to happen in and around.

I think readers are always patient. Look at the 'Harry Potter' series. Some have given up on this generation of kids as game and TV addicts, but lots of people spend lots of time patiently reading through hundreds of pages of dense prose. I think reading a comic by comparison is a lot more immediate.

I feel old and vulnerable. I now realise that I knew nothing and know nothing, but back when my career was beginning, I thought I was a man when, in fact, I was a dewy-eyed boy who'd not seen an avocado or eaten a tomato.

I'm very proud of all the career I've had with the national team.

Today, the forces of competition, technology, and globalization have converged to spur innovation and to transform the way business is done in the securities industry.

I think my biggest problem as a creative person trying to work within a business for profit was that it was very important to me that people liked me. Over the years, observing other showrunners who made work that I so admired, I realized that that had to go. This couldn't be my first priority. My first priority had to be the work.