All offences come from the heart.
Typically your work will end up in a museum [after] you're dead. And maybe that's the function of a museum. It's an archive of your work after you're dead.
By the time I was in my early-twenties and was living there on the Lower East Side, I was so surrounded by tragedy that I think that inspired me to try to reflect it in the artwork.
Doing art that has a happy ending, that doesn't seem really corny, is extremely difficult to pull off convincingly.
When I was younger, when I was a teenager, the work was more satirical and funny and cartoony. And part of it was chops - if you have a more limited repertoire of stick figures and cartoon characters, they lend themselves more to humor than to tragedy.
The trick is not to look back, but keep on expressing where I'm at now. It's challenging to create something new, so it's crucial to dwell in the present moment.
There's the fact that animation is extremely time-consuming, tedious, labor-intensive, and therefore, extremely expensive as an art form to really do it right, to really do full animation.
Everyone has his reasons.
The accusation that we've lost our soul resonates with a very modern concern about authenticity.
Above all, I would like to be remembered as a man who was selfless, who strove and worried so that others could share the glory, and who built up a family of people who could hold their heads up high and say 'We're Liverpool'.
You have good days, you have bad days. But the main thing is to grow mentally.