When you look at traditions closely, examine what they really are, you realize they're made up of layers and layers of deferrals, delays, indecisions, tomorrows and long lunches.
When Americans come to London they usually say how much they love the history, the tradition, the splendid tumpty-tum of things whose very repetition has become their point.
Other people's traditions look charming and decorative and exotic. They're nice places to visit on holiday, but you wouldn't want to live with one.
I'm content to stand on tradition. I'm even more content to wipe my feet on it.
I had experiences or exposure to music in church. I went to a church, it was very unique. It was a predominantly African American Catholic church. So they would have - one mass would be traditional church music, and then the other mass would be gospel music.
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.
My biggest challenge is cooking traditional French dishes, which usually require very specific techniques and methods. That's just not my style... I cook from the soul.
I'm not your traditional action hero.
I'm more comfortable writing traditional protagonists. But 'Steve Jobs' and 'The Social Network' have antiheroes. I like to write antiheroes as if they're making their case to God about why they should be allowed into heaven. I have to find something in that character that is like me and write to that.
There's a great tradition in storytelling that's thousands of years old, telling stories about kings and their palaces, and that's really what I wanted to do.
