I think the lack of precision and deep focus is why it took me years to build up my work.

By the end of the 50s, everything began to collapse and, little by little, I lost all of my work. I lost Rex, the Wonder Dog and all the westerns.

But generally speaking, people weren't fired, art jobs were very hard to get, so something really calamitous had to happen to a person who was working there in order for you to find a space.

In other words, DC was never harmed by the paper shortages.

I think the lack of precision and deep focus is why it took me years to build up my work.

But I was also a big mouth, I started to develop a troubled relationship with Harry Shorten.

Coming into the business, you'd pass through these little agencies until you got to understand what was happening in the business, unless you were really able to have a style strong enough to go directly to the publishers.