But generally speaking, people weren’t fired, art jobs were very hard to get, so something really calamitous had to happen to a person who was working there in order for you to find a space.

I was not too smart and constantly mouthed off and didn’t know anything.

Coming into the business, you’d pass through these little agencies until you got to understand what was happening in the business, unless you were really able to have a style strong enough to go directly to the publishers.

I just saw the emotion in everything, so I got to feel everything that was going on and that I was viewing, but I couldn’t think in terms of structure, which is the whole point of deep focus.

I was hired as a penciler.

By the end of the 50s, everything began to collapse and, little by little, I lost all of my work. I lost Rex, the Wonder Dog and all the westerns.

By the end of the '50s, everything began to collapse and, little by little, I lost all of my work. I lost Rex, the Wonder Dog and all the westerns.

As a matter of fact, I didn't even have a drawing table or a light or anything because I never had a professional job in my life.

I started working in production and I worked there for three weeks but apparently they thought I was making too much noise and they fired me.

The publishers were like syndicates. For instance, the guys that DC hired in 1936, those guys were still working there years later.