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Sometimes, you start with the drawing and then the gag comes to you in the middle of it. That is when you start working on the solution of the gag, which is composition, placing, equilibrium, and character design.

If you start to disrespect the character you're playing, or play it too much for laughs, that can work for a sketch, it will sell some gags, but it's all technique. It's like watching a juggler - you can be impressed by it, but it's not going to touch you in any way.

In the end, everything is a gag.

I apply the three gag rule, which is if I can read a script without gagging more than three times, then maybe I can say yes to this job.

I'm never happier when writing than when I see gags taking shape - ideally, gags at my own expense. What I like is the shuttling back and forth, serious into comedy and vice-versa, ideally, both in the same sentence, or even simultaneously. The best jokes are always ideas in miniature.

If you can understand the humor in the drawing part you'll probably get the humor in the audio part.

I do not favor the gag order.

I think if you want to do a thing properly you have to take a lot of care. I've always found it's easier to draw comics if you know clearly in your head what you're drawing, rather than if you try and make it up as you go along.

I can't not write funny. It's literally the only way I know how to do it.

I'd feel guilty just doing gags.