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).

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.

I've carried on, in that same tradition, with my kids. Aside from just his brilliance, in my estimation, I think he had one of the great imaginations of the 20th century. One of the reasons why the tradition carries on, all these years later, is because, as a parent, those are the books that you go to and pull off the shelf because they never stop delighting you.

There are countless times where you're trying to channel somebody who's not there, but that's what you have to do. But Audrey Geisel, who has executive produced this film and Horton, and who works remarkably close with me, is a great source of information. (The Simpsons creator) Matt Groening once told me that one of the most important roles that he fulfills on The Simpsons is being the keeper of the integrity of the original vision.

Being branded to some subset of your fans is important when it comes to creating films and characters they're not familiar with. It's enormously difficult to market to a global audience, and it's becoming more difficult. A brand matters to parents, whereas kids are largely driven by their urgent reaction to the product. In the future, where there are going to be choices that have to be made by parents because it will be prohibitively expensive to access everything, those will be driven partially by brand.

I take his [Theodore Geisel] legacy very, very seriously. I know others may disagree because he's made such an impact on so many people that response to work becomes very personal, so people will have different points of view. But, at the core of this, I take the protection and the extension of his legacy very, very seriously. It's a very important part of my life.

We in Illumination Entertainment tend not to put ideas through a brand funnel. We've collected a group of people who share a certain taste, and that is connected to our aspirations for our brand. We pride ourselves on making character-centric movies. If I had to say what's the most important thing this company does, it's creating characters that stay with the audience long after they leave the theater.