... just in case you needed a reminder...

It's easier to show this than trying to explain my job history.

The only reason I didn't enjoy working on a production was because of the internal politics at the studio, which would end up interfering with my concentration and workflow. Now, having recovered from the effects of Hollywood's dysfunction, I can look at these shows from a distance and reclaim pride in my efforts. So keep in mind you did say "to work on" I'm proud of all of my work, but you asked, and you may wish that you hadn't. Here we go...

So most political was:-
1) Tutenstein: The Producers were cheating the Network by charging for crew we didn't have, but expecting us to do the same amount of work. I was wrongly accused of being late on delivery of our first episode by an Exec who was screaming down the phone it me and didn't have his facts right, we had delivered on schedule. His revenge was to fire my girlfriend on Christmas eve, so I decided not to work on Xmas day, we went to see Lord Of The Rings instead, which was strangely paralleling my life, it gave me the strength to return to the production and accept the fact that I was being maligned and accused of Moonlighting, which wasn't true. Although proud of the work and loving being able to design Ancient Egyptian gods I ended up fired once my contracted 20 episodes were completed. This experience actually broke my heart for the first time in my life.

2) Igor: I was working for two companies where the Producers would yell at each other pretty much every day, I took to wearing earplugs to lower my stress levels and to help me concentrate. However this was the best script I have ever worked on and this was my best collaborative experience because I was in charge of the creative crew, and in spite of all of the drama we did great work. I was directing and editing the animatic, but the Executive Producers kept changing things, so I ended up doing 5 versions, all were unfinished. I am disappointed that I have nothing to show of my animatic work. The companies ended up in court and luckily I was never asked to testify. The film was financed and inspite of promises made, went ahead without me.

3) Heavy Gear: Working for Columbia Tristar was a grueling experience that got worse with each production. Not only was the workload of three back to back 40 episode shows inhuman, I had to squeeze in the 13 episode Max Steel as well. Added to this was the fact that only my immediate boss defended and protected my company from being fired throughout my entire tenure with Sony. One Producer in particular actively campaigned for my dismissal from contract to contract, for which I had to renegotiate terms every time. They were trying to wear me down and by the time of Heavy Gear I was dealing with a new contract every month! Someone even slipped a print out of an email under my office door, in which the Producer wrote to his superiors how unnecessary I was to the production and needed to be fired, something he had been trying to do since GeeKeR.

4) Max Steel: The CG company Netter were incapable of making this show and eventually had it taken off their hands, I had to deal with them and ended up making CG models of the characters for them. I was given no time to do this show but needed to draw very complex orthographic views which the modellers were supposed to build on top of, they just "eyeballed" it. Badly. Mattel were also a pain in the arse, rejecting the Psycho model until I was forced to scan the head of the toy and trace my turnarounds over the scans, just to stop their bitching.

5) Starship Troopers: The CG Company Flat Earth went under working on this show, and Foundation Imaging followed soon after we wrapped. Gaining the trust of the CG Modellers took a lot of effort and time. I eventually found my crew who could rise to the challenge, but man I had to step over a lot of egos to get to them. Although I'm incredibly proud of how this show turned out, and the ultimate collaboration with the artists at Foundation, it took a lot of personal courage to rise above all the "shade" thrown my way. I sincerely wish that we had been able to continue doing shows together, but Heavy Gear was taken out of their hands for political reasons and the company had to close their doors.

6) Godzilla: Centropolis kept rejecting my designs, I almost didn't make it on this show. I pulled an all nighter and designed the main cast, inventing a new style, which saved my skin. The secrecy during the preproduction of this show was an awful experience, I'd been working in secret for a year, when the writers came on and, being Godzilla fans, gossiped online about some rushes that we had just seen. We all nearly lost our jobs for that, the writers never came clean during the hour long meeting in which we were bawled at by our superiors. I don't like cowards.

7) Extreme Ghostbusters: My team left Australia to America to work on this show, I found myself more like a mother having to chase after their messes, paying their $200+ porn bill at the hotel out of my own pocket after I'd told them not to watch Pay-Per-View, and the costs to set them up in their own apartments. There was a studio manager who did not want an Australian team on his production who was just being a pain in the arse while he was arranging to jump ship to another studio. I was being art directed when all I needed to do was refocus and figure out this style and complete the Main Model Pack in peace, but as with all of the Sony shows, we had no preproduction, the Directors and Storyboard Artists needed their episodic designs NOW!

8) Captain N: I simply got kicked off this show after I created the original style and some of the main cast. Which still stings to this day, I thought these guys were my friends. Welcome to Hollywood.

9) C.O.P.S.: The head of Character Design had no clue what to do with my designs. I was faxing them through from Australia, and I wasn't there to help him get it.

10) Gen 13: This was hard because I really felt that I couldn't get the style, the Director was a friend, but he left me to figure it out, which was frustrating for me. Once he brought on other artists who could do a better job I wondered why he needed me. I had to leave the show, and in doing so permanently damaged our relationship, which was a pity, cos I still like the guy!

11) Spectrobes: Disney in a political move to "dis" our boss at Buena Vista took Spectrobes out of our hands and gave it to a Japanese game company, who "politely" shunted us off the production. Disney cheated us on a water tight contract and still owe us $10,000 for the production of the third game, which was meant to be a flat fee, but they made it a royalty calculation so that they could dick us, they made 5 million off the first game by the way.

12) Mighty Ducks: I never got credited for this show, but I was once in Disney registering my portfolio with a clerk, because I was desperate for work, while sitting under an eight foot high cutout of the character Chameleon, which some other artist had traced off my design. Badly too. It was insult to injury.

13) ALF: The first season of ALF was fun! Yeah there was politics, but we were young artists in a very small space laughing it up. We were all planning to leave DiC and set up our own animation house, at least that's why I was there. The second season DiC had employed the "Divide and Conquer" method, each artist was now in charge of a team and housed in separate areas of a much larger building. I had a crew of 5 artists and two shows to do in the same time we previously had for one. Stressful.

Sorry you asked? Presuming that you read this far.

Yeah, it's been quite a career.

Exactly