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The shows are either 11 or 22 minutes and they move pretty quickly, and that's part of the charm of them - so it was just trying to keep that in mind and keep the energy of the story moving, even though we were dealing with a longer format.
The reason they look the way they do is that the first drawing I did of them was really small so I didn't draw fingers, nose, ears, etc and this drawing had a certain appeal that I really liked.
So what I do is supervise the boarding process trying to get the shows the way I'd like them to be. And in some cases I've completely redone a board myself even though I'm not credited for it.
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.
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