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.
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.
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.
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.
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.
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.
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.
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.
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.