When you're telling a story, the best stories, every character has an arc. Every one. And that arc is usually about finding yourself, or about at least finding something about yourself that you didn't know.
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I love hand-drawn animation, but I have to say I have fallen in love with CG animation. What you can do in terms of visuals is pretty stunning, and I think if I did go back and do a hand-drawn animation, I would want to make sure that, from a stylistic standpoint, it would be as beautiful as 'Hunchback of Notre Dame' at least!
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The mind is the greatest weapon in the world.
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I think sequels are fine if there's a story, so I think when there is a property that is worthy of a sequel, it could very well happen!
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My first project was 'Hunchback of Notre Dame'. I co-produced that.
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I remember telling the 'Tangled' crew about grimace moments: how when you watch a movie that you worked on and you think, 'Ah, I wish we could have done that scene better,' or, 'I wish that we'd had the time or the money to fix that particular story problem.'
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You have to fall in love with the production, and then there's a certain mind-set that you develop where it does stay fresh in your mind.
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Our biggest challenge is always story. The story is the ultimate thing you try to tackle.
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What I love about 'Big Hero 6', with Baymax himself - this sentient creature who's actually a learning robot - with each experience, this naive and gullible creature becomes more aware of issues.
