Answer the question at the end by quoting:

Gilliam was born in Minneapolis, Minnesota, the son of Beatrice (nee Vance) and James Hall Gilliam. His father was a travelling salesman for Folgers before becoming a carpenter. Soon after, they moved to nearby Medicine Lake, Minnesota. The family moved to the Los Angeles neighbourhood of Panorama City in 1952.
Well, I really want to encourage a kind of fantasy, a kind of magic. I love the term magic realism, whoever invented it - I do actually like it because it says certain things. It's about expanding how you see the world. I think we live in an age where we're just hammered, hammered to think this is what the world is. Television's saying, everything's saying 'That's the world.' And it's not the world. The world is a million possible things. As for his philosophical background in screenwriting and directing, Gilliam said on the TV show First Hand on RoundhouseTV, "There's so many film schools, so many media courses which I actually am opposed to. Because I think it's more important to be educated, to read, to learn things, because if you're gonna be in the media and if you'll have to say things, you have to know things. If you only know about cameras and 'the media', what're you gonna be talking about except cameras and the media? So it's better learning about philosophy and art and architecture [and] literature, these are the things to be concentrating on it seems to me. Then, you can fly...!" His films are usually imaginative fantasies. His long-time co-writer Charles McKeown commented, "the theme of imagination, and the importance of imagination, to how you live and how you think and so on ... that's very much a Terry theme." Most of Gilliam's movies include plotlines that seem to occur partly or completely in the characters' imaginations, raising questions about the definition of identity and sanity. He often shows his opposition to bureaucracy and authoritarian regimes. He also distinguishes "higher" and "lower" layers of society, with a disturbing and ironic style. His movies usually feature a fight or struggle against a great power which may be an emotional situation, a human-made idol, or even the person himself, and the situations do not always end happily. There is often a dark, paranoid atmosphere and unusual characters who used to be normal members of society. His scripts feature black comedy and often end with a dark tragicomic twist. Gilliam is fascinated with the Baroque period because of the pronounced struggle between spirituality and rationality in that era. There is often a rich baroqueness and dichotomous eclecticism about his movies, with, for instance, high-tech computer monitors equipped with low-tech magnifying lenses in Brazil and a red knight covered with flapping bits of cloth in The Fisher King. He also is given to incongruous juxtapositions of beauty and ugliness or antique and modern. Regarding Gilliam's theme of modernity's struggle between spirituality and rationality whereas the individual may become dominated by a tyrannical, soulless machinery of disenchanted society, the film critic Keith James Hamel observed a specific affinity of Gilliam's movies with the writings of the economic historian Arnold Toynbee and the sociologist Max Weber, specifically the latter's concept of the "iron cage" of rationality.

What were his philosophical views?

So it's better learning about philosophy and art and architecture [and] literature, these are the things to be concentrating on it seems to me. Then, you can fly...!"

IN: Mojo is a fictional character, a supervillain appearing in American comic books published by Marvel Comics, usually those featuring the X-Men family of characters. Created by writer Ann Nocenti and artist Arthur Adams, Mojo first appeared in Longshot #4 (December 1985), as the titular hero's archenemy, and subsequently a villain to the X-Men and their various sub-groups as well. Mojo is one of the "Spineless Ones," an alien race that is immobile without advanced technology.

At the time she wrote the Longshot miniseries, writer Ann Nocenti was pursuing her Master's degree at the School of International and Public Affairs, Columbia University, working at the magazine Lies of Our Times, and reading the work of writers like Marshall McLuhan, Noam Chomsky, Edward S. Herman and Walter Lippmann. Mojo, a slaver and dictator who rules his dimension through the television programs he produces, was created as a direct result of these influences. (A character named Manufactured Consent after the Chomsky book of the same name, who appeared in Nocenti's 1990 book The New Mutants Summer Special, was also born of these works.) Artist Art Adams designed the character per Nocenti's instructions that he be disgusting and unpleasant, and also tried to make him look frightening. The wires that hold Mojo's eyelids open, thus preventing him from blinking, were inspired by an interview with actor Malcolm McDowell on Late Night with David Letterman, in which McDowell revealed that the similar apparatus he had to wear for the Ludovico technique scene in A Clockwork Orange had scarred his corneas. The rest of the equipment attached to Mojo's head controls his mechanized chair. Mojo first appeared in Longshot #4 (December 1985), and was the main villain of the miniseries, appearing in the subsequent three issues. The character subsequently appeared in The New Mutants Annual #2 (1986). That same year, in The Uncanny X-Men Annual #10, Mojo appeared as the villain in the story, which saw Longshot join the X-Men. In 1988, Mojo appeared in a backup story in The Uncanny X-Men Annual #12. He was the main villain of the one-shot special Excalibur: Mojo Mayhem (December 1989). Subsequent appearances include Marvel Comics Presents #89 (1991), The Uncanny X-Men Annual #15 (1991), Wolverine #52 (March 1992), X-Men #6 (March 1992), Wolverine #53 (April 1992), X-Men #7 (April 1992), #10-11 (July-August 1992), The Uncanny X-Men Annual 16 (Annual 1992), Marvel Comics Presents #119 (1993), What If? #59 (March 1994), X-Men Adventures: Season Two #11 (December 1994), Marvel: Portraits of the Universe #1 (March 1995), X-Men: Mutations #1 (1996), Youngblood/X-Force #1 (July 1996), X-Force/Youngblood #1 (August 1996), X-Force #60-61 (November-December 1996), The Adventures of the X-Men #9-10 (1996-January 1997), X-Babies: Murderama #1 (January 1998), X-Force #76 (April 1998), X-Babies Reborn #1 (January 2000), X-Men Unlimited #32 (September 2001), Exiles #18-19 (December 2002-January 2003), The Uncanny X-Men #460-461 (August 2005), and Exiles #73-74 (February 2006). Mojo was featured in an entry in the Official Handbook of the Marvel Universe Deluxe Edition #8, and in the All-New Official Handbook of the Marvel Universe A-Z #7 (2006).

-Has a recent comic book of Mojo been published in the last few years?

OUT:
All-New Official Handbook of the Marvel Universe A-Z #7 (2006).