We did all seven Chronicles of Narnia, which I can look back and say, “That was incredibly satisfying to do,” but it was really hard work. for more than that, and I remember that at the time he had some guests who put it back on him and said, “Rather than just complain, why don’t you create something for kids that would be an alternative?” At the time, Focus and been dab- bling in audio drama, primarily for adults. The idea then was that Focus on the Family knows audio (at that time they were not visually repre- senting themselves) and it was also kind of low- hanging fruit. It was easier to do. You could pull off a massive epic with sound at a fraction of the budget that it would take to do the same thing for film; even with CGI. So, in the way the imagi- nation works, suddenly you can have thousands of Israelites fleeing Egypt with Moses. You have all these things because your imagination fills in what is missing. Dr. Dobson commissioned basically this creative team within the organi- zation to start Adventures in Odyssey. Not by that name, but to say, “Ok do something for kids. What would that be like?” And so, the initial team did begin to put together the foundation of what became Adventures in Odyssey. What’s fas- cinating to me now, thinking back thirty years to that time period, was that we didn’t aspire to rec- reate the golden age of radio. We weren’t trying to do The Shadow or Fibber McGee and Molly or any of the stuff from the ‘4 0s and ‘50s. We knew we had to do something new. We had to do something that would really engage and be com- pelling to a generation that really didn’t know anything about audio drama. It was the MTV generation, at that time. It was all very fresh and exciting for us and that’s how that got started; and it’s still going thirty years later. Adventures in Odyssey is still producing new episodes. It is still heard all around the world. Did you expect that? I don’t expect that with anything. You never know. When you go in, you bring your best sen- sibilities to bear and you can think, “Well, I’ve got something here that has a lot of life in it.” The format and the structure, and whatever we’ve created has the potential to go a long time. But it’s always up to the audience. It is up to those who are putting up the money to do it; and the audience, whether they engage or not. So hon- estly, the idea that it was going to go thirty years I didn’t really think about. I was thinking mostly about getting the next episode done. You’ve done a lot of production. Out of all of those, which would you say was your favorite? Maybe an easier question is, which was your favorite to produce as in, “Fun!” and what was your favorite com- pleted work as in, “Wow, I did all that.”?