Robert Crumb is an influence on how I draw, but not on the subject matter I take or my approach. One thing I do like about Crumb is that he's chronicled his age, his times, and I think that is what artists should do.
Oh, it's essential. I mean, you have to - if I'm writing about the Middle East, I have to go there, and if possible, stay long enough to get a real feeling for what's going on.
My guide had a copy of Palestine on my last trip to Gaza. He'd bring it out and show people what I was trying to do. That usually went over pretty well.
I try to ask visual questions. I'll ask what someone was wearing, if that seems relevant. If possible, I'll walk over the same ground that they're depicting. Of course, I can never get it precisely as it was.
I think any journalist who spends time in a place realizes that there are lots of stories around beyond their primary story. You meet so many interesting people and have all kinds of experiences.
There's probably one more story about Bosnia that I'd like to do, because I spent a fair amount of time on the Serb side of the lines, which isn't apparent in the other books.
When I was there, something clicked in my head; I found myself interviewing people, searching out facts and figures. Later on I became much more self-conscious of what I was doing.
And I think I find, I know a lot of people around, in different cities, and so it's not - it might sound strange - but it's not that hard to say good-bye, because I know there's other people where I'm going. I can sort of fit in in a lot of places.
I don't like just traveling in for a short time. I've done that before, because sometimes you work for magazines and they have a budget, and if you're working for them, they want something by a certain time.
I will interview bigwigs if I get the chance, but you are seldom surprised by people in power - you've got to get awfully damn close to get anything new.
