While my mother wanted me to be a musician, I wanted to become an electronic engineer.
After 'Lindbergh,' my publisher asked whom I wanted to write about next. I said, 'There's one idea I've been carrying in my hip pocket for 35 years. It's Woodrow Wilson.'
We wanted to create an opportunity for people to share anything, on their own terms, revenue and all. Get away from the commerce side of music, which can be exciting and necessary but ultimately dilutes the creative impulse. The further and further you go down that path is sometimes the further you are from the reason why you started making music.
I remember in high school thinking that I wanted to be a lawyer, and now I realize I saw that movie 'And Justice for All' when I was a kid and thought, 'That's what lawyers do, and I want to get up and yell and scream in the middle of a courtroom.'
My senior year I felt I put a lot more time into the offseason to make a lot more happen. Going out my senior year, I felt like I did everything I wanted to do and more. I felt like I dominated and I feel comfortable going to the next level and that I'm ready.
I don't care if it was 2 o'clock in the morning after a night game. I had to break down the film by myself before I watched it with the team. I wanted to see everything I did wrong and did right or I wouldn't be able to sleep.
Fantasy stories have almost always been very white and European-focused, and we wanted to tell a story that would feel both more modern and more global. We wanted to attract a diverse audience.
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.