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Harvey Pekar

American Splendor is just an ongoing journal. It's an ongoing autobiography. I started it when I was in my early 30s, and I just keep going.

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I really don't have a lot in common with the people who attend the Comic Con. It's like assuming that all people who write prose are the same.

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People writing about me have said that I've influenced a lot of people, and there are some artists who have credited me with influencing them.

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It's extremely seldom that anybody wants me to change what I've written about them. Generally I portray them in a good light, if they're friends.

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I decided I was going to tell these stories. I went around and met Crumb. He was the cartoonist. I started realizing comics weren't just kid stuff.

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I'd been familiar with comics, and I'd collected 'em when I was a kid, but after I got into junior high school, there wasn't much I was interested in.

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It seemed to me you could do anything in comics. So I started doing my thing, which is mainly influenced by novelists, stand-up comedians, that sort of thing.

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I met Robert Crumb in 1962; he lived in Cleveland for a while. I took a look at his stuff. Crumb was doing stuff beyond what other writers and artists were doing. It was a step beyond Mad.

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The film's success so far involves winning a couple of prizes at Cannes and Sundance, and getting some very nice reviews in newspapers and magazines. That hasn't had a big impact on my life yet.

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I write scripts in storyboard fashion using stick figures, and thought balloons and word balloons and captions. Then I'll write descriptions of what scenes should look like and turn it over to the artist.

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