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.

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

I was hired as a penciler.

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.

Everything was sensory and I never saw the structure in anything.

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