Intention
For the moment, my hardest intention consists in spotting existence (awh, don’t want this to sound too poetic nor rare). To try not to think. I try to “exist” only in the moment of actual drawing of the line…how to say this? Like trying to think about this line - moment before and moment after, but WHILE actually drawing it – no…Heavy task... ;

-…in that sense of the word. Like I said, to make the time stop. You sense the control of it, you know it, you got it, and it goes…;

Comic
Comic is a range choice of frozen images.
The very moment image is frozen in, and context between the last and the next – tells the story. It means that one must be very carefull where exactly freezes it, because, when you think of it, there are so many angles to put the camera eye, that the number of possibilities is simply never ending. When you take a look at what masters have done, for example Mezieres or Giraud, no matter whom of the greats, all these people made so many books, and not one image is repeated totally. So it means that, if ones choice is entering that kind of approach, mannerist behaviour is almost impossible, because there’s no end to it. But after this kind of ones decision, when mastered it and you’re free, the most important thing of that choice is – if you in fact have something to say…;

Hours
I work a lot. Ten to twelve hours a day minimum. But, I’ll sign wherever you want, that a person can not be creative more than four hours a day. No way. Tremendously difficult. These four hours should be guided to peaks of the day. Then the rest of it is a physical part. To plan, to do, to draw…It must be arranged, because its really difficult. I never could’ve top more than four…I have the feel that afterwards something bad could happen…or after you sleep for three days …;

Reading
Each frame brings the conclusion with it. When a person reads comic, he can read the last page first, if he wants. He could jump frames. But the comic has to have kind of strength, to make the reader NOT WANT to turn the page and miss the frame. And if he does, he must have the wish to go back to it immediately…he must say “wait, wait, I wanna see what happened here”…;

Script
What I miss the most, more than anything, are strong scripts. In drawing sense, lately there is a large number of quality craftsmen, especially in France, because French opened, and people came from all over. But what happens is that the scripts are mostly, lets say – quality of B or C movies… I expect from comic scripts to be all like Hugo Pratt’s, all strong and deep. Like in the literature: a few books of Danilo Kish I didn’t like, but when I red “The tomb for Boris Davidovich”, than I red “Garden, Ashes” and then you say “WAOW”…Something like that, when people really try to build out something from their work…I think that inside script writers heads, there’s a lack of mastering of comic as it could be… I think that they’re only using what comic already has, but still do not risk to try something that could be achieved with a good enough try. To bring out nuances, ambience talk, or atmosphere achievement…To suck out from a drawing makers something that could define better comic possibilities…

I miss the fact that scriptwriters, do not do their work for a year or more, like book writers …it really should not matter quantity of action, or these stereotypes…it simply should not matter…
Like scripts of Zeljko Pahek…Should’ve mention him at the beginning…His script can be drawn by a bad craftsman, however it’ll always have this line never spoken, but its simply there. So clear, so present, and so what’s left for me is simple awe…You can only be in awe of him or hate him. That’s it. And all the frames are connected. You can not miss one. This is the real thing…Inspires…;

Technique
People should see that the very choice of these images, choice of the style, no matter how spontaneous, fast or slow, no matter at all, that its here because I exactly want it that way, and not because I cant do it some other way. The impression should be that I couldn’t do it differently regarding the story, and not because of lack of craft or technique. Technique you must have…and not because of knowing how to play no ending scales…nothing to do with that…not in that sense…it must be technique of choice to use. Dominated in a sense of approaching the medium, to know what to use to tell something…that’s maybe the most important thing…Because to tell the story, you’re using the choice …;

The great masters
When you take a look at Hugo Pratt, with time I’m more and more surprised - its incredible how much Milton Caniff influenced him…And all this “school”…Or, if you look at early “Blueberry” – well its “Jerry Spring” …However, the excuse for something you wear inside, ought to echo great masters in order to learn to speak a language…like wanting to express yourself in French, but you do not know a word. First, you must meet it properly, and for this, the great writers will offer you a good path. It means that you cant only at university or some grocery store, it must have something else, some ornament or decoration to it, something more. To make you see how somebody makes better the very language he uses. Better with what HE wants to say.
Great Masters are important, and I’m especially sensible to this question, because in my early years, after American, I identified with French school, with Giraud, Jije, Franquin as leaders, and so, at one point, I – at myself looked in doubt if I just took somebody else’s manner. And so I struggled very hard to bring out that it was the way to see what in fact is happening inside comic subject. Not a rip off nor mannerism stuff…and so, at some moment, all this impressions united and it just took off - to my own language - with lots of subjects started: what’s there in that composition, why is it like this, what to do with light, with perspective, to deform it or not…all this is as much scrupulous, if your master is somebody great…to choose a good teacher, that is…And after, typically, you start to ask yourself who was the teachers teacher, then teachers teacher, and so forth, finally to make you see that it’s a circle, that all this is logical, and that to all of them happened the same as to you…