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Bill Cottrell: I don’t think I met Roy for some weeks when I started in the Studio. By my recollection, I started on February 14th, 1929.

Bob Thomas: ’29? You must have been a wee broth of a boy.

BC: There were about ten people in the organization at that time. I have a list of them someplace. Roy had an office at the Studio, I think, but his main office was at Tec-Art Studios, on Melrose, I think it was. I went over there later after a while. The Studio had a lot of stationary sets. It seems to me that there were mostly sets of France. European houses and residences, small towns. They were leased out to studios making five-day features and all. The Disney organization, the Disney Company had one or two sound trucks in those days. They were for hire or rent. They recorded sound at his command, and Disney had a sound truck and they used to rent their sound equipment, their sound mixer and sound engineer on a day-to-day basis. Roy was the one that, I believe, made the negotiations for their contracts. When they made a feature in five days there wasn’t a really big contract. The inside workings of a studio were all new to me and I was fascinated with what went on.

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