![]() I was writing all the way up to, basically a month ago, when we had to finally unlock the film and show it to people. But with animation, because it takes like six years to make, you’re in collaboration the entire time. You’re like, “Oh, I wrote the thing, here’s the blueprint for the thing,” handing it to a director, and then they take off with it and interpret it. Because in those mediums, you usually finish a script, and then you hand it off. But I think at the same time, working at Disney is literally nothing like TV or the stage or even a live action film. ![]() There’s gonna be things at Disney World and Disneyland, so you’re aware of that amentity every time you’re writing. They’re gonna be on lunchboxes, toys, blankets. They’re going to be in the pop culture pantheon. When you’re writing a big, busy film, it’s global, right? But not only that, you’re very, very aware that these characters are going to last forever. Or a TV show that’s, you know, built for a network. Nguyen: Well, I think the biggest detail is the fact that it’s a Disney movie, so I know right away that the mandate on is going to be a lot larger than a play that, obviously, in its very nature, is kind of community-driven or localized. How did the scope of this project differ from your past works? And how did you approach it compared to writing for the stage or the small screen? Q: Co-writing an animated feature film for Disney does not seem like a small feat.
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