It is incredibly daunting to take on a live-action story. I think that it adds a level of complexity to the responsibility that goes beyond what I've experienced on these two films (The Lorax and Horton Hears a Who).

There will be increasing temptation to watch movies where you want to when you want to, and so I'm very focused on how we innovate Illumination Entertainment to keep the in-theater experience vibrant and urgent. In part I think it's what movies you're choosing to make and why those are films we feel are best enjoyed surrounded by a group of people. I also think it's continuing to look at things technologically.

I think that it's important for a film that's in 3D that the filmmakers create the movie from a staging and scene planning standpoint with the dimensional space as one of their storytelling components.

Tone is an interesting question because part of the inspiration of looking to song is that Geisel himself - when you think about his animated version of The Grinch - embraced the idea of using songs in unconventional ways, as part of conveying a narrative. The use of music, in this film, is very unconventional, which I love.

No matter what happens with technology or whether you're in traditional animation or stop-motion or CG, the biggest challenge always is story. The flow of making the movie is usually determined by how your story is coming together, and when your story is straining and you can't quite get your hands around it, your entire production is straining.

It's not fair to use movies that weren't creatively successful as a reason why something won't work.

Why did Ted Geisel end up writing and illustrating for young minds? He has specific imagery in the book, and we never would have moved beyond the discussion phase, if we couldn't have found an expression for The Lorax, dimensionally, that was true to the soul of what comes through in his simple line drawings, on the page.