I was hired as a penciler.

I just saw the emotion in everything, so I got to feel everything that was going on and that I was viewing, but I couldn't think in terms of structure, which is the whole point of deep focus.

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.

It was exactly an assembly line. You could look into infinity down these rows of drawing tables.

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.

All of the penciling was consistently done by one person and the inking was whoever could finish on time.

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