Nearly all monster stories depend for their success on Jack killing the Giant, Beowulf or St. George slaying the Dragon, Harry Potter triumphing over the basilisk. That is their inner grammar, and the whole shape of the story leads towards it.
As a little girl, I didn't like stories about little girls. I liked stories about dragons and beasts and princes and princesses and fear and terror and the Four Musketeers and almost anything other than nice little girls making moral decisions about whether to tell the teacher about what the other little girl did or did not do.
Our experience on 'Avatar' heavily influenced how we approached 'The Dragon Prince' and how we built our team.
On 'The Dragon Prince', we wanted to push that even more to leverage the strengths of a CG and 3D pipeline. We wanted details on the character designs, in the costumes and sets, that you really can't get in traditional 2D animation.
Look, part of it is that those credits have a list of names of people who work so hard on the show. They do amazing visionary work on 'Dragon Prince'. And Netflix lets you skip those credits so easily. We wanted to give people a reason to enjoy the credits.
Wonderstorm is a new company and 'The Dragon Prince' is our first kind of big, exciting story that we're trying to bring to an audience.
I've got no interest in football. My brother's a footballer, too, and I was dragged to the freezing pitch every week as a child. I don't see much glamour in it.
I believe that Christianity in the United States has been dragging its feet, and I don't think there's any other force in America that has been more detrimental to the solution of our racial problems than Christianity.
I've only dressed in drag three or four times.
I was shocked when 'The Hobbit' ended where it ended. I wasn't paying attention to what they were doing; I didn't know they had another movie, and I couldn't believe it was when the dragon came out.
