Although he was diligent about producing his own art on the side, Aronson had a hard time marketing his work. Galleries initially weren't interested and many university art departments turned him down for teaching positions. Traditional skills and traditional subjects were becoming more the exception than the rule at a growing number of art schools, replaced by an emphasis on theory and new media. "I think I was passed over because what I brought to the table was, in many cases, an indictment of what those schools' programs were about," Aronson observes.

"There were a lot of cutting-edge art happening, and students didn't want to hear that it was going to take years to learn how to draw. I hear aspiring painters say, 'I'm beginning where Matisse left off,' and I often suggest to them, 'Maybe you'd do well to begin where Matisse began.' There are fundamental things that don't change with style and time. I think it's important to rephrase the timeless and universal objectives of art using your own voice and style. You find students who went through an art-school experience that was more like recess -- and perhaps had a wonderful time but didn't really learn anything -- coming out of those programs with huge student loans and not even the basic training to take illustration jobs to help them pay back those loans. It has done a lot of art students a tremendous disservice."

"You could say that Jeffrey Brown was there and your girlfriend has a crush on him? Because he is a beardy, self-deprecating Midwesterner? Your table was in a better location this year? There should be better promotion of the event? The djs at the Live Art event were awesome?"

"And I wonder—perhaps this is being too simplistic, I don't know, but I wonder if the root of the emergence of the superhero in American culture might have something to do with a kind of an ingrained American reluctance to engage in confrontation without massive tactical superiority. I mean—does the term 7/7 mean anything to you at all?

During the 7/7 bombings over here, it was announced a couple days later that as soon as the first two trains had gone up, all of the American forces that were in London were recalled to safe distance outside the M24 orbital motorway. After a few days, when they realized that it was safe to go back into London, they realized also that it looked kind of bad, sort of rushing out of the capital at the first sign of any trouble when the main reason for the bombing was England's support of America in the Iraq war.

It does seem to me that massive tactical superiority might be a key to the superhero phenomenon. That, if it's a military situation, then you've got carpet bombing from altitude, which is kind of the equivalent of having come from Krypton as a baby and to have gained unusual strength and the ability to fly because of Earth's lesser gravity. I don't know, that may be a simplistic interpretation, but that's the way I tend to see superheroes today."

"America has an inordinate fondness for the unfair fight. That’s why I believe guns are so popular in America – because you can ambush people, you can shoot them in the back, you can behave in a very cowardly fashion. Friendly fire, or as we call it everywhere else in the world, American fire."

Moore says he left DC in 1989 due to the language in his contracts for Watchmen and his V for Vendetta series with artist David Lloyd. Moore felt the reversion clauses were ultimately meaningless, because DC did not intend to let the publications go out of print. He told The New York Times in 2006, "I said, 'Fair enough,' [...] 'You have managed to successfully swindle me, and so I will never work for you again.'"

"Originally I was content to just simply accept the money, that was offered when people had adapted my comic books into films. Eventually I decided to refuse to accept any of the money for the films, and to ask if my name could be taken off of them, so that I no longer had to endure the embarrasment of seeing my work travested in this manner. The first film that they made of my work was 'From Hell' Which was an adaptation of my 'Jack the Ripper' narrative... In which they replaced my gruff Dorset police constable with Johhny Depp's Absinthe-swigging dandy. The next film to be made from one of my books was the regrettable 'League of Extraordinary Gentlemen'... Where the only resemblance it had to my book was a similar title. The most recent film that they have made of mine is apparently this new 'V for Vendetta' movie which was probably the final straw between me and Hollywood. They were written to be impossible to reproduce in terms of cinema, and so why not leave them simply as a comic in the way that they were intended to be. And if you are going to make them into films, please try to make them into better ones, than the ones I have been cursed with thus far." - From the BBC2 show The Culture Show (9 March 2006)