Hmmm, it's been years [laughs]. But, actually I wasn't, no. I had pretty good feelings about Star Wars, because it's just more high profile.

But you know, Samurai Jack hasn't been on the air for the last, you know… ten months. I kind of feel like it's a forgotten show, so it's great to have it recognized. You know, it's the last one that can be nominated, and it's great to see that it did.

Do you have any idea why they chose this episode in particular?

Well, I think it's a strong episode. And I want to think of it fairly that it kind of got recognized for just being a good show. You know, that episode kind of has stuff that's a lot more unusual; we were taking a lot more risks… because there's probably just a minute of dialogue in the whole episode.

 How did the concept of the episode come about?

It came about, kind of thinking about the seasons. And I wanted to do something just a little different from what I've been doing before, but with just a few stories. I'm always kind of thinking about stuff to kind of challenge [the staff] creatively. So, I had the idea of doing the four seasons, and so it would be that each season that Jack had to go through with a different danger for him. So, we had to make what might be a summer-style death for him, or a fall one, or a winter one, and a spring one.

How challenging was it to produce this episode, in comparison to the other three portions of the SAMURAI JACK finale?

The episodes were all difficult in their own different ways. But [for "Seasons of Death"] the stories though, one good thing about the stories, is that they came together very easily. So I knew it was a good idea.

Environment is obviously a key aspect of "Seasons of Death," how important is production design and Environment to you, as a whole, as a director?

It's huge; it's one of the elements of storytelling. I mean, you have music, you have sound, you have dialogue, and you have the visuals. And the visuals are nothing without the environment. So, it's one of the key four elements… one cannot survive without the other. So, they all have a kind of teamwork of all of those key points.

Are you pleased with the way "Seasons of Death" turned out?

Yeah. But, I think we have the third segment--which is the winter--almost twice as long, because we had all of the build up in it. And so, we had to cut a lot… I had to cut a lot out of it, and so I feel like I may have lost maybe a little bit. But the other ones, I really like the fall--the poison one--the fall one and the summer one I was really happy with.