Are you looking at Moms and Flawed Dogs as traditionally animated, or as Zemeckian CG motion-capture pieces?
BREATHED: It will be Mo Cap. Just to annoy the animation community. But it’s a good candidate for that technology, which, like it or not, is going to grow. KP: How would you describe working with Zemeckis? Are you on the same page, creatively? BREATHED: I haven’t started working with him, as he’s finishing Beowulf. But his folks seem dedicated to preserving the look of my art. They were fanatical about this with Polar Express. We’ll see. You never know really. It’s all a gamble in Hollywood. KP: What elements do you see as being essential to any adaptation of Opus for the big screen? How, essentially, do you define that character and his place in any world that might be created onscreen? BREATHED: I’m not setting Opus up again. Nobody will give me the control needed to protect him. Miramax wanted to redesign him, if you can believe that. I knew at that point that it was fine that the project was doomed. KP: How would you sum up how your philosophy towards merchandising and adapting you
