For me, the very last great strip is 'Peanuts.' After 'Peanuts,' there are a very few strips that I enjoyed for different reasons, but I don't think they were great. I don't think anything's come along since Charles Schulz - and I mean since 1950 - that I think rises above the professional or the eccentric into that realm of greatness.

I came to the big city and I started to get involved in the punk scene and stuff, and I wanted to sort of brand myself. I made a pretty conscious effort to be a different type of person.

Comics are given serious attention now and I'm quite surprised. You see them reviewed in major newspapers and exhibited in serious museums. I wouldn't have predicted it.

I've certainly seen a lot of my cartoonist friends embrace 'Little Lulu' in a much deeper way because their kids love it so much. But that's not gonna be happening for me. There are no kids coming.

The skill set that I think we have as actors is so cool because they train you in ways that you never thought you'd be trained. And that's skills that they can't take back. So as you go further in your career, you can dump all these skills into things.

There's always that time in football where people say that when you have the dip, it's how well do you overcome it. And when you do overcome it, you then end up being a much better player and generally your career lasts a lot longer after getting through that period.

I would be fooling myself if I thought I would succeed as an entrepreneur. Maybe my base as a theatre artiste gave me the confidence as that’s when you start feeling you can do something on your own.

One thing I struggled with early in my career was the delicate balance between my performance and my identity. When things on the field went well, I was cheerful and felt important. When things went poorly, my countenance and self-concept plummeted, and I was not pleasant to be around.