We have a process that continually looks back to him for guidance, but it also combines that with a tremendous amount of discovery and invention, as well, because of the demands of the medium and the opportunities of the medium.

I think that every enduring story that has expressions over multiple periods, that role of being the keeper of the integrity of the vision is a very important role.

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.

Everybody has a wicked side, whether they are six or sixty, and yet so often storytelling draws a sharp line between good and evil.

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.

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.

We have a process that continually looks back to him for guidance, but it also combines that with a tremendous amount of discovery and invention, as well, because of the demands of the medium and the opportunities of the medium.