The other interesting thing about UPA [United Productions of America] was the way we were [unclear] and worked with the animator, although you were not an animator. Let's say you were a story man, but you just walk up to your animator and he would ask you, because you're in the story, what would be a nice way to go, a good way to go? We had a kind of a relationship to each other, which had nothing to do with job. Either I was a lay-out man or a background artist because I used color or [Herbert] Herb Klynn did overall lay-out, [Robert] Bobo Cannon was the director. But we didn't have those walls. If I saw something that Bobo was doing and I said, 'Hey, Bob, I have an idea' and I'd tell him the idea and even if it was the last minute before the film was even, Bob then go and change things and make it work. But it's very rare, it's very rare. But the four or five guys that I mentioned, we could talk to each other. It had nothing to do with how much you make or how much I make. It was, 'Hey, I have an idea'. Boom. And then you make that work. And that doesn't exist, you know, in most places because you have always got, this is your position, that's your position. But I think when a studio gets bigger, it's difficult to maintain that kind of activities. When it's small, like UPA was, UPA was maybe 110 to 112 people, that's not a big number. And so… But we knew each other, even if we're not there. And there's a relationship between you and the next man, if you can work together, you know? And you know he's good, he knows I'm okay, we know him is okay, you know? But the talent was good, the talent was good. Because when you see [unclear] this one with guy who sees the giraffe in the park - outside the yard. What was that? And then he goes and tell his wife, there's an animal on the garden. Funny, I can't think of it, it's a famous story. There's an animal in the garden and she says, 'You're a booby, I'm going to call the hospital to pick you up'. And when the hospital comes, they're picking her up, you know? And I saw just the other day, I have a print or two prints of that and you look at it today, all this time later, and they're beautiful. They are absolutely incredible films. And time didn't hurt them at all, and that's magic. When time doesn't destroy you, then you have something special. And these films are just about that, they're just beautiful… beautiful. It's a beautiful art piece.
