I sometimes look at the careers of other... I guess I could call them contemporaries or maybe close artists; you know, the 4 or 5 guys who go to New York City and get a loft and work together and use each other as models and that sort of thing and wait for years and years to get married. Maybe I just wasn't that definite.

I chose Bagdasarian Productions when I heard from some colleagues at work who were buying story boards at the time back in the early '90. I met the man once when I came in with the first half of the story board and the only thing he said when looking at the first half of the board was, "It's so nice to see someone using their imagination."

I started out wanting to be a straight adventure cartoonist, but in 1979 realized what my real bag was.

Forty percent of my ideas came from my wife.

I went to art school for about a year. I was born and raised in the Willamette Valley in Oregon into a middle-class family who didn't have the funds to say, "Here, kid. Here's your money for school." So I worked real hard during the summer and saved money and was able to go to school for a year and borrowed a little money which I paid back after that first year.

I did a dozen superhero pinups. I signed them "Kirby/Royer" because it was Kirby's drawing. I didn't think I was committing some sort of sin.

I found that the majority of people who stopped at my table [ at the Comic Con] last didn't even know who Winnie the Pooh was, and the new feature was just opening in the theaters.