I know some stories about "liberation" and stuff that's been liberated by people who turn around and get on their soapbox about how it's unfair that the artists didn't benefit while they're sitting on stuff that they "liberated," but that's another story for another time.

I went into Hollywood and met Mike Aarons and went to Grantray-Lawrence Animation to work on the, by today's standards, extremely cheap and crude Marvel superheroes cartoons which basically consisted of taking stacks of the comic book art, taking parts of the art, pasting it down, extending it down into drawings and occasionally a new piece of art to bridge the comic book panels and limited animation and lip movement.

Sometimes I look at some of my old work and I don't like it.

People ask me who my favorite inker is and I tell them my favorite inker was Joe Sinnott...but I was the best. Now I don't mean that as any kind of egotistical thing. It's just that I did what Jack wanted.

I assisted with Russ [Manning] for about eleven months and my day job for 5 days a week was credit manager and paint salesman for Sherwin-Williams.

I'm finding that everything sells. I've been toying with the fact that I have this big giant glass jar with the metal screw lid on it that's full of ribbons and memorabilia from conventions and stuff. I've got buttons and I have all of my Walt Disney Mickey Mouse credit cards. I'm wondering in my old age if anyone would pay for a credit card with Mickey Mouse on it issued to me. I wonder if anyone would pay anything for that?

I like to think that I gave Jack Warner Brothers inking and Joe Sinnott gave him MGM inking. If you're not as in love with old movies as I am you might not make that connection, but I can see that connection.