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My first project was 'Hunchback of Notre Dame'. I co-produced that.
We are Disney, in a sense. When you've been there for 20 years, there's a certain heart and soul to one of those films, and you inhabit that to a certain degree. So if it feels true to you, then your audience will hopefully go for it.
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!
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.
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.
I have worked with several art directors and production designers who are just magnificent. Dave Getz, Paul Felix, Ian Gooding ... just amazing artists, and I would say, if I had anything to do with it, I just pick good artists!
I think that one of the things you have to do to become a storyteller is spend a lot of time reading stories.
Our biggest challenge is always story. The story is the ultimate thing you try to tackle.
When I was a kid, I loved history because history to me was a big story.
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.
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!
