Animals are stylized characters in a kind of old saga - stylized because even the most acute of them have little leeway as they play out their parts.
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The old age of lower mammals presents characters similar to those found in man.
I think younger readers connect so readily to animal characters because they share a certain vulnerability, particularly when it comes to adult humans, who can be a rather unpredictable lot.
Someone once pointed out that there are quite a lot of animals in my books, and I'm sure that is something to do with 'The Wind in the Willows.' I must have picked up a rather anthropomorphic view of them.
I don't want to spoil the magic, but it's a very curious thing that honestly baffles me. It's the nearest we'll ever get to playing God, to suddenly produce these fully formed creatures. It is a bit odd. Other aspects you work out more - you rework sentences, you rework imagery. But not characters.
Animation is different from other parts. Its language is the language of caricature. Our most difficult job was to develop the cartoon's unnatural but seemingly natural anatomy for humans and animals.
Novels usually evolve out of 'character.' Characters generate stories, and the shape of a novel is entirely imagined but should have an aesthetic coherence.
Animals come from nature. They were not designed. All my inspiration comes from nature, whether it's an animal or the layout of bark or of a leaf. Sometimes my patterns are very bold, and you can barely see where they come from, but all the textures and all the prints come out of nature.
I always play these rodent type characters - skittish and hyper like a chipmunk. It's a complete act though. I'm a very normal person.
When you build characters from the outside in, they become, oftentimes they become like 'Saturday Night Live' characters or they become like caricatures of the character.
When a wolf doesn't want to do something, they look really cute.
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