I read some of my stories recently and thought, ‘How in the hell did I get away with that?’ I had some really raw cynicism in some of them.

I always tried to write a story in such a manner that I wouldn’t mind buying it myself.

I am my own dragon. I decide for myself.

I was never a Boy Scout, but oh, I wanted to be one when I was a kid about ten or eleven years old. But there wasn’t anyplace where I could ever join the Boy Scouts.

The thing that I consider most important about my work is this: I told it like it is. I told my readers that the bad guys have a little of good in them, and the good guys have a lot of bad in them, and that you can't depend on anything much; nothing is always going to turn out roses.

Before I started drawing a comic, I would read my script for it ten or twenty times.

I always felt myself to be an unlucky person like Donald, who is a victim of so many circumstances. But there isn't a person in the United States who couldn't identify with him. He is everything, he is everybody; he makes the same mistakes that we all make.

Ideas generally come in a very complicated form, and you've got to strip them down to make them usable. Boil a gag down to its simplest form, and it is readily discernible to anybody who sees it.

I enjoyed doing the gag covers better than the story ones because they were usually simpler. A cover based on an incident in the plot took a great deal of staging to tell a little story that was still part of the book. And it had to make sense on its own.

I was never a Boy Scout, but oh, I wanted to be one when I was a kid about ten or eleven years old. But there wasn't anyplace where I could ever join the Boy Scouts.