The studios will go wherever they smell money. It’s like sharks to the blood.
You just can’t keep pouring money down an endless hole and never recoup any of it. It’s got to be a business.
If the machines can take the drudgery out of it and just leave us with the joy of drawing, then that’s the best of both worlds – and I’ll use those computers!
The heart of Dragon’s Lair has always been its compelling story. With Dragon’s Lair 3D, we think the team has really created an interactive animated movie.
Usually with things, you go where you can find the financing to do it.
I think the work that they do and the style of 3D graphics is absolutely fabulous and I think it’s a great brush to use for some stories. And there are other brushes that I think are exclusive to a different kind of story.
I’m also very pleased that we were able to include a full orchestrated score for Dragon’s Lair 3D. The 40 different music pieces blend with the action to make you feel more a part of the whole adventure.
I prefer that animation reach into places where live action doesn’t go, and it seems like all of animation nowadays is trying to go where live action is.
As you follow the escapades or the journey of the hero through a story, it evokes some kind of emotion in the viewers. The director’s job is to make sure that the audience goes through the journey and has an emotional reaction.
Dragon’s Lair 3D is about as close as you can come to controlling an animated feature film.
We’re waiting for the pendulum to swing back again, which I am absolutely confident it will.
I cannot explain why they made that sequel to Secret of NIMH. Because they claim that it the original didn’t make money, so what was the enthusiasm to make a sequel?
I have never seen a game’s graphics look so sharp and clean. The sound design for the game is also unique on the Xbox. The memory on this system allowed us to provide the user with 5.1 Dolby surround sound for home theatre owners.
I remember when we were doing the first Dragon’s Lair, I got really involved with coming up with all the little rooms and what was the danger in the room and going into it with bats and spiders and snakes.
I think we have to bottom out. When the studios jump out of the ring, perhaps the artist can get back in.
We’d love to do Space Ace 3D. It has a lot of potential. But, it is really up to the publishers.
There’s about 260 rooms in the new castle which you go through, but it’s all about the game play.
It’s whatever sells; it’s the business of it.
Once you work with a studio on a film, the studio is sort of like this enormous clam that just opens, takes everything and then closes, and no one enters again. They own it all.
Basically the children who watch it just see the little characters they love, and so they’re not discerning about whether it looks great or it’s a great story or anything.