I have a need to make these sorts of connections literal sometimes, and a vehicle often helps to do that. I have a relationship to car culture. It isn't really about loving cars. It's sort of about needing them.

I've always thought of the project as a sort of sexually driven digestive system, that it was a consumer and a producer of matter. And it is desire driven, rather than driven by hunger or anything like that.

An interesting thing happened in 1989, right as I was graduating: the stock market crashed and really changed the landscape of the art world in New York. It made the kind of work I was doing interesting to galleries that wouldn't have normally been interested in it.

A lot of my work has to do with not allowing my characters to have an ego in a way that the stomach doesn't have an ego when it's wanting to throw up. It just does it.

My first draft of Marvel Knights 'Black Panther' was not funny at all. They smartly rejected the entire script and counseled me to inject liberal doses of humor into very serious subject matter.

The duty of comedy is to correct men by amusing them.

When I started out in comedy, it was common knowledge that it took about 10 years to get good. And that was okay because it took you about 9 years to get on television.

The moment for me, thinking I might actually want to do comedy professionally, was when I did public speaking at school. I found out I was good at getting up in front of class. In the fifth grade, I did a speech on comedy.