So in my cartooning there's an influx of a lot of influences that are not only from cartooning, but to mention some: Hergé and Tintin, Quino and Mafalda, Art Spiegelman and Maus. And these works have influenced me more as a human being than as an artist. Also I could mention Woody Allen, Kurt Vonnegut, John Steinbeck as some others. A lot of my influences will show up in my daily strip, so I have strips were maybe Chaplin shows up, or strips where Snoopy shows up, or strips where I put a little phrase by Vonnegut or Steinbeck, or, you know, Harper Lee, stuff that I read while growing up. And knowing that they impacted me somehow. You know, Woody Allen, and Monty Python, and just all of that is in there, and also a lot of Latin American culture. So I am just this big salad full of different ingredients. And I generally don't think it's very nice when an artist tries to go like, "Hey, I just appeared out of nowhere! I am such an original." I mean, say thanks, man!

The initial influences on my work are in the work that was developed in Cuba in the humor magazine Dedeté [DDT], which avoids “pamphletizing” [crude propagandizing] and looks for new forms of communication … for non-traditional esthetic solutions. That’s where my style starts out.

My style is very self-taught. I sort of taught myself drawing from watching The Simpsons and reading The Far Side. I think you can see those two things come out in my comics. I really like drawing gross stuff. I really like drawing gooey shit. I like to draw Ted Cruz, because he's really melty. I love to draw someone melting, or with extra eyeballs. I love a skull. Fire is really fun. So there's all these things that I just like to draw, and they'll end up in my comics.

Interviewer: Would you say any other manga artists have influenced you?

[On the question: 'What was your main stylistic influence up to this time']: The Renaissance chiefly - Piero, Mantegna, Uccello - but I was attracted also by the modern idioms - Léger, Picasso - and was close to the abstract painters on the project such as Stuart Davis, Burgoyne Diller, Arshile Gorky, Balcomb Greene, etc. At the time I did the Queens project, there was already a marked change in my work - it was becoming more concerned with cubist concepts of treating space.

Throughout his career he has unashamedly hopped from one outside influence to another in an attempt to clothe the content of his films in a form which will surprise and shock. He has sloganised, fantasised and parodied as well as presenting us with neo-realism, documentary and even Chekovian pastiche. But that is only the half of it. His films also show the seminal influence of a great deal of Indian popular and folk culture. He will beg, borrow or steal from anything to form an appropriately striking style and, for all that, still remain resolutely his own man.

Those American comics themselves were heavily influenced by Keaton’s comedies, Mack Sennett, those sorts of films from the golden age of comedy. The gagmen that appeared there, for example Roscoe Arbuckle or Ben Turpin, there were lots of comics that used their style, their faces just as is. Especially Chaplin with his bowed legs and over-sized shoes. Those sorts of features were used directly in comics. In that era, all American cartoonists imitated the stars of comedy. That is what I worked so hard at copying, and so that’s why my comics are bowlegged and big-shoed. At the level of content too I was deeply influenced by the strong social caricatures of Chaplin’s comedies, the tears mixed with the laughter. The biggest influence of all was the rhythm.

I have been accused of being a joker. But the most successful art to me involves humor.

Q: Who were your comedic or revue influences?
IC: I adored Jack Buchanan and Fred Astaire. Cary Grant roles are ones I would love to have played but I was never given any.

Comics were the source of my entertainment and interest. But they’re the kind of standard Japanese stuff that Japanese kids enjoy. When I got to university, there was a layer of culture shock that hit me. I began to learn about modern and abstract art. Until that time my drawings were more realistic in style. Then I was opened up to abstract images. I was encountering things I’ve never paid attention to or recognized before. I liked that, behind those abstract images, there was always an idea. That set me thinking about art in terms of ideas, rather than depictions. What could I make that had a clear idea behind it, looked unique, and yet wasn’t alienating? All of that led me to the aesthetic of my games.

I always say I'm an escape artist, Style is something I've always tried to avoid. I'm more interested in character. Character comes out of the work. Style is applied or imposed on it.

A lot of people ask me — I get this all the time — 'Are you Buddhist? Are you Zen?' And my answer is always, 'I don't always necessarily identify myself with Buddhism, but the philosophy is something I'm always interested in and am very curious about learning more about.' So I am very influenced by Buddhist philosophies, Buddhist schools of thought. So much of it deals with being mindful, being fully aware of just a very subjective nature of reality, the illusion of reality, sort of the dichotomy of samsara or nirvana ... those are things that I do think about a lot, and I think it definitely, that interest reflects itself in the comics. (2014)

I first followed the comics of Tagawa Suihō and Yokoyama Ryūichi. But suddenly, once I became devoted to Disney, I set out to copy and master that stuffed-animal style, eventually ending up with how I now draw.

As an artist I want to try to be as versatile as possible. I’ve had the good fortune to play characters that have a role-model thing to them. But I would think now, after 25 years, 30, that the body of work does say something about where I’m coming from. So now it’s not so much about role models. Although this character does have a nihilistic approach to life and he’s very complicated and flawed, that’s a meal for an actor.