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I was a top-notch cartoon model for Hanna Barbera, and they made me into a cartoon series called 'Devlin,' which ran for seven years, and I was on lunch pails and coloring books and all of that. It's really interesting being a coloring book when you're young - most kids colored in coloring books, but I made money off coloring books.

I joke that I learned the essentials of storytelling from Hanna-Barbera, but I pretty much did. That kind of television is what enamored me as a kid, and that's what really got me hooked. You could say that's where it all began.

Up until the time Turner Broadcasting bought Hanna-Barbera, it was essentially an independent studio whose planning cycle had to be nine months. You got a pickup in January, and you put it on the air in September. That's been the cycle.

My very first professional job was a cartoon, doing voices for the Mr. T cartoon in high school.

Around 2000, I was working on cartoons like 'PB&J Otter' and 'Doug.'

I just find 'Scooby-Doo' unwatchable. I can't stand it. I like all those other Hanna-Barbera shows about a thousand times more than 'Scooby-Doo.'

If you mentioned Hanna-Barbera to people, they said, 'Oh yeah, Flintstone, Yogi, Scooby-Doo, Jetsons,' and that was pretty much it. We have characters with very high recognition factors and great films, but no organized plans for really making the most of them and increasing their value.

I used to work at a puppy nursery.

I started, actually, to make my first animated cartoon in 1920. Of course, they were very crude things then and I used sort of little puppet things.