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It's hard when you've done [something] yourself to step back and look at it but hopefully [Preacher] does have some sort of timeless quality because of the universal themes that are tackled, so that many years later people can still connect with it.

I've changed my technique a few times in my career. [...] Sometimes you just change to challenge yourself. But also over the six years of Preacher, [my] style [changed] a bit. It's unusual to have a run that's so long that you can actually notice how the characters change. If I'd only done it for a year it wouldn't have changed that much. The characters just evolved naturally.

[Creator-owned projects] give you the chance to do your own ideas. But there's a lot of fun to be had working on characters that somebody else owns. I mean, before I die, I'd love to do a Batman [story]. I won't get as much money for it, unless it sells really really well. But it's something I'd like to do.

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Paul was a great help to me. He saved me a lot of time because one of the problems I had was that I used to draw comics when I fancied it, and suddenly now I had to draw comics when I had to. So I had to do three pages a week whether I wanted to or not. That'd be a luxury now, just doing three pages a week. But at the time it was a bit much for me to handle and Paul helped me make a quantum leap which would have taken me months longer if I'd been doing it myself.

It's been ironic, really, because I got into comics wanting to draw superheroes. I used to draw superheroes for fun when I was a kid but in my career, from the earliest days, I wasn't drawing superheroes. Nick Fury: Agent of SHIELD wasn't really a superhero. The first thing that I did, the Hulk, wasn't really a superhero either. If you look at the Doctor Who stuff, what I did for Warrior, then if you look at the work I did on Hellblazer and Preacher as well, that's not superheroes either. The closest I ever got to doing a superhero comic was Wolverine: Origins.

I've been lucky to have worked with some really good writers on Punisher. There's been Garth Ennis, Daniel Way, Jason Aaron and now Becky. I just look forward to seeing the scripts come through. When a writer knows what they're doing and know[s] the story they want to tell, it makes life a whole lot easier.

When I start work with a new writer, they often ask "What do you like to draw?" and my pat answer is always, "A good story". I'm not one of these artists into drawing giant robots or soldiers or big-titted women. Because for me, it's all about the story.

The acting side of comics is quite important to me. The facial expressions, how they interact and all that sort of thing. [...] I can [draw big fight scenes] if I need to, but not as good as some, because some people have a love for it, so that love shows through. I have a love for drawing people sitting in the pub talking. My specialised subject!

As [Garth and I] talked it over, I thought [Preacher] was a great idea for a story. I was very conscious that nothing like it had been done by a big, mainstream comic publisher before and I wondered if we’d get away with the stuff we wanted to do. As it turned out, DC, and Vertigo's Karen Berger in particular, were great. There were a few battles but, for the most part, we managed to get it done the way we wanted it.