“My work isn’t about form. It’s about seeing. I’m excited about seeing things, and I’m interested in the way I think other people see things.”

Everybody knows that abstract art can be art, and most people know that they may not like it, even if they understand there’s another purpose to it.

I like to pretend that my art has nothing to do with me.

And I dont really want it to carry one. Im not interested in the subject matter to try to teach society anything, or to try to better our world in any way.

I’m never drawing the object itself; I’m only drawing a depiction of the object – a kind of crystallized symbol of it.

There is a relationship between cartooning and people like Mir? and Picasso which may not be understood by the cartoonist, but it definitely is related even in the early Disney.

But when I worked on a painting I would do it from a drawing but I would put certain things I was fairly sure I wanted in the painting, and then collage on the painting with printed dots or painted paper or something before I really committed it.

Yeah, you know, you like it to come on like gangbusters, but you get into passages that are very interesting and subtle, and sometimes your original intent changes quite a bit.

I don’t think of form as a kind of architecture. The architecture is the result of the forming. It is the kinesthetic and visual sense of position and wholeness that puts the thing into the realm of art.

People mistake the character of line for the character of art. But it’s really the position of line that’s important, or the position of anything, any contrast, not the character of it.

I think art since Cezanne has become extremely romantic and unrealistic, feeding on art. It is Utopian. It has less and less to do with the world. It looks inward – neo-Zen and all that. Pop Art looks out into the world. It doesn’t look like a painting of something, it looks like the thing itself.

People think one-point and two-point perspective is how the world actually looks, but of course, it isn’t. It’s a convention.

Personally, I feel that in my own work I wanted to look programmed or impersonal but I don’t really believe I am being impersonal when I do it. And I don’t think you could do this.

Picasso’s always been such a huge influence that I thought when I started the cartoon paintings that I was getting away from Picasso, and even my cartoons of Picasso were done almost to rid myself of his influence.

I don’t really know what to make of it. There’s something terribly brittle about it. I suppose I would still prefer to sit under a tree with a picnic basket rather than under a gas pump, but signs and comic strips are interesting as subject matter.

I think its the tension between what seems to be so rigid and cliched and the fact that art really cant be this way.

I kind of do the drawing with the painting in mind, but it’s very hard to guess at a size or a color and the colors around it and what it will really look like. It’s only a guess at the beginning, and then I try to refine it.

In England they always try out new mobile phones in Isle of Man. They’ve got a captive society. So I said, you should try the legalization of all drugs on the Isle of Man and see what happens.

Maybe the greatest madness is to see life as it is rather than what it could be.

Everything you see comes from inside. People don’t see it but inside the dressing room we laugh and joke a lot so it’s not just for the cameras. It’s the way things are off the pitch too. We are happy for each other, it is all natural.

Sound is 50 percent of the movie going experience, and I’ve always believed audiences are moved and excited by what they hear in my movies at least as much as by what they see.

Voluntary simplicity means going fewer places in one day rather than more, seeing less so I can see more, doing less so I can do more, acquiring less so I can have more.

When I got depressed, I watched Bruce Lee movies. I learned everything from Bruce Lee.

Lord, I shall see you no more with the eyes of the flesh.

We must see that we are afraid of the thing we most desire, and so we live a mediocre life, never bringing to consummation the primary impulse of our heart.