Not only that, but when I first met Joe, to my intense delight, he showed me that he was a collector. He was collecting some of the early Tarzan pages by Hal Foster, and, later, early Flash Gordons; and I found that we were both absolutely interested in the same type of thing.

Jerry picked up the technique of visualizing the story as a movie scenario; and whenever he gave me a script, I would see it as a screenplay. That was the technique that Jerry used, and I just picked it up.

Clark Kent, I suppose, had a little bit of Harold Lloyd in him.

Jerry often says that Slam Bradley was really the forerunner of Superman, because we turned it out with no restrictions, complete freedom to do what we wanted; the only problem was that we had a deadline.

In the beginning, we had a great deal of freedom, and Jerry wrote completely out of his imagination - very, very freely. We even had no editorial supervision to speak of, because they were in such a rush to get the thing in before deadline. But later on we were restricted.

And I agreed the feeling of action as he was flying or jumping or leaping - a flowing cape would give it movement. It really helped, and it was very easy to draw.

I think initially we wanted to use the first letter of the character's name. We thought S was perfect.