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Shrek is the Mickey Mouse of DreamWorks.
It's very exciting to continue to work at DreamWorks.
I loved DreamWorks and Pixar, and I still love kids' films.
The very first game I worked on was for DreamWorks Interactive's 'The Lost World: Jurassic Park.'
I don't think that Dreamworks would have signed me expecting to really mess around with whatever it is I do.
What's so great about DreamWorks is that it's run by filmmakers who believe that if it's not broke, don't fix it.
A company like DreamWorks, all we do is make product. That's all we do. We don't own distribution. We are purely in the creation of content.
I actually worked for a small company in Ohio that sort of farmed out work from Disney and Dreamworks, so I really only ever worked in two studios.
I'm in 'Madagascar 2.' I'm Testy the Lion. The franchise moves to Africa, and Bernie Mac is also in the film. I loved working for Dreamworks on that film.
If DreamWorks and Disney need that name to sell the cartoon and get people in the seats, that's what they need. It's not fair, but there's plenty of other work for us to do.
When I came to DreamWorks, I was in bad trouble. They were in bad trouble. They were millions of dollars in the hole and a few days from closing their doors. I was on my last leg.
Actually, we got signed in November of 2000 with Dreamworks which is the most amazing label. We have friends on other labels and though we are not selling millions of records, yet, they treat us with tons of respect and give us some very good guidance.
In 1985, I went to work for MTM Records, Mary Tyler Moore's Nashville record label, and stayed three years. After that, I spent two years as an independent promoter, then worked for MCA Nashville Records, DreamWorks Nashville, and Universal Music Nashville.
I love Pixar films; I think they're the greatest filmmakers in the world. I love Disney films. 'Tangled,' was great. I loved 'How to Train Your Dragon,' the Dreamworks film. But it's not for me. I don't want to make a film for families; I want to make adult films.
We can still do a stop motion feature for about one-third of what it costs Pixar or DreamWorks or Blue Sky to make a feature. But nobody is interested in a film that cost $50 to 60 million with the potential to do $120 million. They want to risk big money to make huge money.
I'm not as successful as Pixar or Dreamworks, and that is disappointing to me, because I think my films are as valid as a Pixar film. I think there's an audience for my films. I know there's a market for someone like Quentin Tarantino, who basically does adult cartoons in live action.
Even in the Pixar and DreamWorks animated movies, there are themes that could be taken into an adult area very easily. 'Zootopia,' I think, is the closest so far; I love that movie because they really did push the envelope as far as the ideas and writing of an animated film for families.
There's the animation ghetto of feature films in this country. There's this flavor at DreamWorks, and Pixar does their own thing, and generally they're safe. But if you look at Walt Disney's original films, at the time and in the context, they weren't safe. They were really dark and troubling.