I see the cartoonist as contributing to the content, being critical, because we do poke holes in some of the dialogue and find new ways of seeing things.

It's to be a person who's able to shoot little arrows into sacred cows and knock politicians off their pedestals, to look out for hypocrisy, advocate for all sorts of things from social justice to peace.

I would think a sense of the absurd is more important for a political cartoonist, because that could define things like a sense of hypocrisy or a sense of the things one has to be skeptical about.

There was a teacher who recognized that I was interested in cartooning and he was great.

When you go out there to do comedy, you feel like you're doing battle with the audience a lot of the time. You're either going to get 'em, or you're not.

Gamer humor ranges all over the place. What it comes down to is taking a lot of what we see in gaming and we're familiar with in gaming and being like, 'OK, hold on, let's re-examine this for a second. Isn't this funny? Isn't this strange? Isn't this a little bit ridiculous?' That's where it is.

Rome has New York's formlessness, aimlessness, a kind of hard-boiled sophistication, blase about everything. In their filmmaking, too, the Italians have this tongue-in-cheek sense of comedy.

For some reason, comedy just comes easily to me, and I feel like I can do it. I don't have any doubt. When I work on drama, there's always a sense of 'Did I find this person's truth at the bottom of this?' And it's hard to tell sometimes.