Sometimes when you're in the midst of something you don't always appreciate it while you're doing it. Gargoyles was an exception to that. At the time, I knew we were doing something kind of special. Something that might not be repeatable. It turned out to be, professionally.

We had 10 months, sliding schedule to do 52 episodes. After you get over the shock of the size of the number, the job became one of expansion.

Sometimes when you're in the midst of something you don't always appreciate it while you're doing it. Gargoyles was an exception to that. At the time, I knew we were doing something kind of special. Something that might not be repeatable. It turned out to be, professionally.

Of course, Bronx is also useful as a kind of living personality test. If Bronx likes you, it's a [darn] good sign.

I had studied William Shakespeare in Oxford, England and I had this sort of high faluttin' education but I had also worked in comic books. So, I wasn't too proud to work in something like cartoons.

I had co-written one episode of an animated show called Jem and the Holograms. Which at the time I didn't view as the start of a career, I viewed it as, "Hey, someone wants to pay me to write something, and I might get a TV credit, isn't that cool?" So I did it with my writing partner at the time, Cary Bates, and it was interesting but it didn't lead to anything and I didn't think too much about it.

When I got out of college I worked for DC comics. I worked on staff there and I also freelanced for them for about a decade. I spent two years on staff as an editor right out of college. I'm from Los Angeles and I came back here after a couple of years in New York, to go to Graduate School at USC. I wasn't thinking specifically about animation although while I'd worked at DC.