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.

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.

Years passed and I hadn't really done much writing. Other than the fact that I'm constantly developing new shows, writing up proposals and stuff.

I've been fascinated with gargoyles since I was a kid. I took a high school trip to Europe, the 8 countries in 5 weeks kind of trip. Even then I collected postcards of gargoyles. Then I sort of forgot about it. You flash-forward a few years and I'm at Disney, we're looking for an idea to base a show on. I was running series development at the time at Disney TV Animation. And we came up with the Gargoyles comedy series. Which didn't sell!

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

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.

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.