I'm always thinking about what I might want to do next, but there's still things I want to do with Powerpuff - so I can keep going with this one for awhile.

There's a lot you can do without words.

One of the main things I do is focus on ideas and what stories we decide to tell, but probably the biggest part of my job I'd say is working on the storyboards.

First, there was 2 Stupid Dogs. Then, Dexter's Laboratory. And now, Powerpuff Girls. There were a lot of little things in between, but those were the main ones.

It really just gives you a sense of when you need to have dialogue and when you don’t, and if your pictures are telling the story, you don’t need to have all this talking.

Basicly I’m in charge of all creative aspects of the show.

Im always thinking about what I might want to do next, but theres still things I want to do with Powerpuff – so I can keep going with this one for awhile.

I started working at Hanna-Barbera in ’92 on 2 Stupid Dogs.

I’ve been drawing since I was about 3 and I come from a family of artists.

The shows are either 11 or 22 minutes and they move pretty quickly, and that’s part of the charm of them – so it was just trying to keep that in mind and keep the energy of the story moving, even though we were dealing with a longer format.