The idea right now - and it may evolve - would be a live-action movie where some of his characters would be animated. To me, this movie is very much about the creative process.

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

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.

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.

Songs give you incredible opportunity to convey a tremendous amount in a relatively short period of time. The first thing that John Powell, our composer, says is, "Is the song engaging you to tap your toe?" If you're not tapping your toe, it doesn't matter what you're doing in the song, it's not going to work. But, if you can get the audience to be engaged by the song, then it gives you the opportunity to accomplish so much, in a very concise way.

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.

Anytime you adapt work of somebody who you respect, as much as I respect him, it's an enormous responsibility. In honoring that responsibility, what we try to do is to continually use his work, and the writing that he did about his life and his work, as our guide. That starts with his intent for what he was trying to express when he wrote it, and it extends to his intent overall.