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One of the main things I do is focus on ideas and what stories we decide to tell, but probably the biggest part of my job I'd say is working on the storyboards.
It really just gives you a sense of when you need to have dialogue and when you don't, and if your pictures are telling the story, you don't need to have all this talking.
I've been drawing since I was about 3 and I come from a family of artists.
I'm hoping that word-of-mouth on the film - people seeing it and liking it - that that will drive more people to the theaters, because I haven't seen the billboards or the posters or anything.
I'm always thinking about what I might want to do next, but there's still things I want to do with Powerpuff - so I can keep going with this one for awhile.
I'm a geeky toy collector, and to have toys of your own characters is unbelievably cool.
I started working at Hanna-Barbera in '92 on 2 Stupid Dogs.
For a long time I wanted to be a comic strip artist but when I started doing them in my teens they were getting really elaborate with tons of poses and a lot of information.
First, there was 2 Stupid Dogs. Then, Dexter's Laboratory. And now, Powerpuff Girls. There were a lot of little things in between, but those were the main ones.
But to me what seems to be missing in a lot of portfolios is Cartooning.
Basicly what I had to do was do a 7 minute board and pitch it to a room of big wigs from the network and based on that they determined if I would get a short or not.
Basicly I'm in charge of all creative aspects of the show.
Anything you see on the screen was at one point approved by me.
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