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So I moved to Europe and only came back when directors like Robert Altman would call me after they'd seen my work in Full Metal Jacket.
For me, I'd rather be the inventive one, and if something doesn't work, I'll go back to the workshop, put it on the bench, and pound on it for awhile.
Everyone knows how much Australia means to me. I try to get back here as much as I can, but normally it's for work, so I'm in and out and jetlagged and stressed.
I would like to do commercials, or even work for WWE if they called me. I wouldn't want to go back on the air or manage again, but I would like to be a spokesperson and do stuff like that.
Lissa Treiman is an artist who submitted a guest strip to me back in 2008 and whose work I've followed since. She works in animation. When I first mentioned on Twitter that I was interested in writing a series but not drawing it, she got in touch.
Wherever I went, I became a son-in-law. It was a terrible phase for me. I had to work double hard to get back my identity. Whenever I gave an interview, the first question would invariably be, 'What is it like to be his son-in-law?' Now that question comes somewhere in the middle of the interview. Hopefully, soon, it won't be asked at all.