I would visit Vegas every year when I was a kid. Vegas, to a kid, is a playground, as much as it is to adults. I discovered the magic store in a hotel and would spend hours and hours in there.

You have to have all these elements of a feature but with a third of the length. And also the development process - there are so many more steps in getting notes from the studio, getting notes from the network.

I had always been interested in screenwriting, ever since I could write things down as a child. Obviously, I started as an actor, professionally, but screenwriting was always something that I had a great interest in.

I think that's pretty crucial for it to succeed and be something more than just something you put your kid in front of and turn on the DVD. We wouldn't have got involved if it were just for little kids. We wanted to write something that works on both levels.

It's like live action if you reshot every scene a million times after finishing the movie. Because even apparently by the very end, a few weeks before they were screening it for the world premiere, they were making changes. That's just simply something you can't do on live action.

I would visit Vegas every year when I was a kid. Vegas, to a kid, is a playground, as much as it is to adults. I discovered the magic store in a hotel and would spend hours and hours in there.

We always for better or worse try to put on paper what's going up on screen - whether we're directing it or not. It's really just an extension of that habit which is trying to tell the reader what the movie will look like. Ultimately that is the job of a screenwriter to a certain extent.