paced and kinetic at some points. Was storyboarding some of the more complex scenes a big challenge for you? It was yeah. Those kinds of scenes with the pacing and the energy just need to feel right. It's the sort of thing that needs to be worked at a number of times to get it right and get in the right number of jokes. I've been so fortunate that I've been able to make so many mistakes working on TV. It was like a training ground for doing this movie because I was able to experience doing similar sequences to those in the film. From my career up to this point I've learned so much from doing things over an over again that when stepping into this role I have the confidence to deliver complex sequences in the right way -- to create the great manic energy that we were after. You've worked extensively in 2D animation and I saw a quote from you saying you wanted the film to have similar aesthetics to 2D. How did you convert such aesthetics across into the 3D realm? The important thing is I wanted it to feel handcrafted. I didn't want to just plug Dracula into a computer and limit the animators ask to what that can do. I wanted them to give the film some of their animation background, I wanted it to have a personal touch so that you could tell, "oh only that person could've animated that scene". So