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.
Christopher MeledandriEverybody has a wicked side, whether they are six or sixty, and yet so often storytelling draws a sharp line between good and evil.
Christopher MeledandriWhen you take that to the next level of guiding a group of filmmakers to actually depict him, it's even more challenging. The one that that I think everybody involved believes is that we won't move forward with this until we believe it's right. There's no deadline that a movie has to be made by. We have to believe that we have served the responsibility, however long it takes us to get to that point.
Christopher MeledandriI 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.
Christopher MeledandriBeing 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.
Christopher MeledandriTone 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.
Christopher Meledandri