The first job, I think, I would say, was Disney, the Fantasia, and they wanted me to do a storyboard on the Chinese dance. What happened, that some… some of my friends are working at Disney and they knew my love for animation because it has something to do with the world of dancing, you know? So I did that kind of approach even to my drawing. Instead of having one drawing, I made maybe three or four drawings and actually, you know, it ends up, it looks like animation. But primarily it was because I was in love with movement, and because of that, it propelled me into animation. And… and so that was the beginning of drawing. But when they promoted me to Disney and Disney saw my drawings, they hired me to do the storyboard on the mushrooms… on the mushrooms. 'Course that led into a lot of trouble because, by that time, Disney was almost finished with Fantasia, about 85%. So they had a couple of things here and there like the Russian dance, the Chinese dance, the mushrooms, you know? Whatever that was. So I had some drawings, so they hired me to do a storyboard on the Chinese dance, which was the mushroom. The mushroom was drawn but the people who were working that time on that aspect of a film, they never saw ballet. They just never saw ballet and they worked at Disney on Fantasia and that was a problem for me, with them, because we talked two different languages - the ones who have seen and one who have not seen. But the ones who have not seen, run the shop on… on this segment of Fantasia. So when I got into that world, naturally there was a certain amount of animosity because these people have been together for all these months and months and months and here they bring in a new guy - was me, to do this, because they had problem with the mushrooms, to create really a kind of choreography that would enhance Fantasia. So that was the first in into that world, you know?