People can do bad things for good reasons, or for what they think are good reasons.

Fantasy stories have almost always been very white and European-focused, and we wanted to tell a story that would feel both more modern and more global. We wanted to attract a diverse audience.

Wonderstorm is a new company and 'The Dragon Prince' is our first kind of big, exciting story that we're trying to bring to an audience.

Yeah, so when 'Avatar' came out, the social media world and the idea of fan communities were very new. There were forums and you could obviously go to conventions and talk to people, but it wasn't as clear or easy.

We learned that there was a super intelligent, passionate audience that wanted material that was nuanced and detailed and authentic.

The animators working with these 3D models, they're artists, right? They're great at what they do. They're artful in how they move characters about.

Look, part of it is that those credits have a list of names of people who work so hard on the show. They do amazing visionary work on 'Dragon Prince'. And Netflix lets you skip those credits so easily. We wanted to give people a reason to enjoy the credits.

One of the great things about now vs. 10 or 12 years ago is we can see how the audience responds and the audience has an opportunity to be a community that engages each other and engages us and we're excited for that conversation.

On 'Avatar', I learned that it's worth taking some risks and doing some weird little things with characters or having an off-joke here and there, even if it's only for 5 percent of the audience.

On 'The Dragon Prince', we wanted to push that even more to leverage the strengths of a CG and 3D pipeline. We wanted details on the character designs, in the costumes and sets, that you really can't get in traditional 2D animation.