After “Space Monkeys”, Joe kept the studio going by subcontracting work from D.I.C. (“Mummies”) and Film Roman (the abortive “Blues Brothers” series, on which I directed a never produced episode I’m extremely proud of).
Joe ran out of work in late ’96, so I freelanced around for a while before settling at Sony Animation, storyboarding on “Men In Black” for Mike Gougin. I returned to directing on HBO’s “Spawn”, helming the final episode of the last season. Frank Paur, the producer, nominated the entire 3rd season for an Emmy as best Long Form Animation, and, by golly, I and the other 5 directors won. I returned to Sony to direct on “Godzilla”, and was head-hunted by Joe Pearson to co-direct, along with Tom Tataranowitz on “The Roswell Conspiracies”. Joe had sold Epoch Ink to Alan Bhobot to be the house animation studio for Bhobot Kids Network. The studio moved from its homey store front in Santa Monica to the top floor of a 30 story high rise in Westwood, across the street from the Federal Building.
Joe ran out of work in late ’96, so I freelanced around for a while before settling at Sony Animation, storyboarding on “Men In Black” for Mike Gougin. I returned to directing on HBO’s “Spawn”, helming the final episode of the last season. Frank Paur, the producer, nominated the entire 3rd season for an Emmy as best Long Form Animation, and, by golly, I and the other 5 directors won. I returned to Sony to direct on “Godzilla”, and was head-hunted by Joe Pearson to co-direct, along with Tom Tataranowitz on “The Roswell Conspiracies”. Joe had sold Epoch Ink to Alan Bhobot to be the house animation studio for Bhobot Kids Network. The studio moved from its homey store front in Santa Monica to the top floor of a 30 story high rise in Westwood, across the street from the Federal Building.