![]() Animation is always about creating an illusion of movement. I can’t help but be influenced by my work in animation. Did you pick that up when you worked at DreamWorks? ![]() There’s so much movement in your drawings. Instead, I concentrated on the line and the feel of the movement. But I tried not to get too hung up on what this little girl and this flamingo would look like. I watched a lot of ballet performances trying to find some poses from different pas de deux that would allow the characters to interact in ways that would move the story along. Yes, absolutely, even though the flamingo is at first an unwilling partner. The story comes across like a choreographed dance between the two characters. When they were learning to talk and play with language, they were coming up with all of these really funny phrases, like “fire extinguisher” was “fire stinking shirt.” And I started thinking back to when I was little, and I remembered this thing about flamingo dancing, and I thought, Oh, I want to draw a dancing flamingo. Milne’s characters-Kanga and Roo-together made “kangaroo.” Then one day, I said to my mom, “Ooh, do you get that?” And she was like, “Please tell me you’re joking?” I was 10 before I realized that the names of A. I had this amazing talent for missing the obvious. When I was little, I thought that Lee Iacocca and the Ayatollah were interchangeable and that flamenco dancing was flamingo dancing. ![]() You use nifty interactive flaps to tell the story of an unlikely friendship between a gawky bird and a vulnerable girl. ![]()
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