much so that there are a number of scenes where I can tell who animated it and maybe it's just me but for sure, it's got that organic quality. Also I wanted to bring this 2D sensibility to the posing and the acting. I didn't want any video reference, you know, a lot of time the animator will film themselves acting out and then use it for a foundation. I really discouraged that and I wanted them to draw the poses in a purely cartoon fashion, removing them from the live action sensibility, because to me it should be about the character and the character coming to life. How did working in 3D effect your direction? Was it a consideration throughout? It kinda did and in a funny way it was like a happy accident that when I first started at Sony I did this 3D crafts thing and learned what things do work in 3D and what things don't work in 3D. Luckily the cinematic style that I chose to tell the story in fit with 3D well, very well. You know with 3D over the shoulder shots don't look very good and we have barely any. We really staged it like a Warner Bros cartoon where there's two characters and the animation gets to really shine. So the 3D felt really nice and there were some advantages that I discovered that I didn't previously know about. These are most obvious when it comes to the invisible man and