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.

First and foremost, that's what I am, I'm a writer. I can't draw worth a darn. I don't draw, I write.

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.

With Gargoyles, I didn't want to walk away. I liked the idea too much, I was too passionate about it and so I went to my bosses and said, "Guys, I want to produce this show." Their initial response, lets call it dubious, but they let me give it a shot and sort of the rest is history. I moved from one side of the desk to the other side of the desk, and became a full time writer which had always been the goal, but I came about getting the actual work in a sort of roundabout way.

The written word is all that stands between memory and oblivion. Without books as our anchors, we are cast adrift, neither teaching nor learning. They are windows on the past, mirrors on the present, and prisms reflected all possible futures. Books are lighthouses erected on the dark sea of time.

What goes through one's head when Disney asked for 52 more shows? I remember seeing that in the supplemental features...When they first said "52" I literally laughed, I thought they were kidding. They said, "Well, how many do you think could do?" And I said, "Well, we've got 6 scripts in the works, so 6 obviously we could do. We did 13 last year, I think we could do 13 this year without a problem." I said, "If we really pushed it, I think we could do 18." And they said, "What about 52?" I started laughing but they were serious and eventually they did get the 52 episode order.