We're waiting for the pendulum to swing back again, which I am absolutely confident it will.

As you follow the escapades or the journey of the hero through a story, it evokes some kind of emotion in the viewers. The director's job is to make sure that the audience goes through the journey and has an emotional reaction.

Basically the children who watch it just see the little characters they love, and so they're not discerning about whether it looks great or it's a great story or anything.

Shelf-life for a regular video game usually is about three to five years, and that's it.

Usually with things, you go where you can find the financing to do it.

Now they call in all of the authority figures they can find and hire them - the cost has gone up. The picture may or may not get better, but definitely, it gets more cumbersome.

In the animation world, people who understand pencils and paper usually aren't computer people, and the computer people usually aren't the artistic people, so they always stand on opposite sides of the line.

The heart of Dragon's Lair has always been its compelling story. With Dragon's Lair 3D, we think the team has really created an interactive animated movie.

You just can't keep pouring money down an endless hole and never recoup any of it. It's got to be a business.

The studios will go wherever they smell money. It's like sharks to the blood.

We're waiting for the pendulum to swing back again, which I am absolutely confident it will.

There's about 260 rooms in the new castle which you go through, but it's all about the game play.

If you look at the game and everything, it's not quite like looking at an animated film, because that's total character. This, this is really movement, but it's got funny little things if you look for the humor. They're actually getting to the character.

Dragon's Lair 3D is about as close as you can come to controlling an animated feature film.

I'm also very pleased that we were able to include a full orchestrated score for Dragon's Lair 3D. The 40 different music pieces blend with the action to make you feel more a part of the whole adventure.

It's whatever sells; it's the business of it.

The only one that seems to be able to hold the business is Disney. They do it is because they have a fabulous philosophy about marketing- but even they wavered.

I cannot explain why they made that sequel to Secret of NIMH. Because they claim that it the original didn't make money, so what was the enthusiasm to make a sequel?

But I've been surprised over the years. I mean, someone told me the other day that maybe 360 million people have played this game in the world. That's a lot of people.

I think we have to bottom out. When the studios jump out of the ring, perhaps the artist can get back in.

You've got to be able to make animation for much less... Less is not the studio's way.

I'm saddened to see that everyone's pitched out the baby with the bath, in that we say that it can't be one or the other, it could be both. I mean, just because we listen to classical music doesn't mean that we can't listen to jazz.

How can you have a director that doesn't go to work with the crew every day and talk to them?

I prefer that animation reach into places where live action doesn't go, and it seems like all of animation nowadays is trying to go where live action is.

We'd love to do Space Ace 3D. It has a lot of potential. But, it is really up to the publishers.

When business executives are making the artistic decisions and don't understand animation, things can go awry.

The marketing department is really an important part of getting an animated film to work. If the people running it are used to selling live action films and the hard rock music and the sex and all those things... Anything outside that, they just don't know what to do with it.

I remember when we were doing the first Dragon's Lair, I got really involved with coming up with all the little rooms and what was the danger in the room and going into it with bats and spiders and snakes.

We started getting the script to different people and we were in the business of trying to fund it so we could get it off and running, and all the characters and sets designed and everything.

I think the work that they do and the style of 3D graphics is absolutely fabulous and I think it's a great brush to use for some stories. And there are other brushes that I think are exclusive to a different kind of story.

Once you work with a studio on a film, the studio is sort of like this enormous clam that just opens, takes everything and then closes, and no one enters again. They own it all.

Reese Witherspoon. She's sophisticated enough that you just like her. You like her and she's smart.

I have never seen a game's graphics look so sharp and clean. The sound design for the game is also unique on the Xbox. The memory on this system allowed us to provide the user with 5.1 Dolby surround sound for home theatre owners.

With movies, you are always in search is a good story, one that everyone will relate to and love. I love finding those stories and creating a visual world to tell the story.

It just seems like the whole, overall animation world is trying to go where maybe animation doesn't belong.

If the machines can take the drudgery out of it and just leave us with the joy of drawing, then that's the best of both worlds - and I'll use those computers!

When I did the record, I was coming off a time when my contract had been sold and the music industry had changed a lot. I didn't understand how to make records for big labels. I was waiting for a new kind of record label to emerge.

Yes, and I can sit down on a white piece of paper and work because I don't believe too much into inspiration, only I'm waiting for inspiration, work and then inspiration may come. It's a little too easy to say that.

If we wait for the U.S. to do something, we will be waiting for a very long time. It's Europe, it's Australia, it's the other developed and middle developing countries that have got to do the job.

I keep waiting for the roof to cave in. I was raised to follow the Golden Rule, you know, treat people the way you wish to be treated. That's kind of the way I live my life. Maybe someone up there likes me for that.

Infuse your life with action. Don't wait for it to happen. Make it happen. Make your own future. Make your own hope. Make your own love. And whatever your beliefs, honor your creator, not by passively waiting for grace to come down from upon high, but by doing what you can to make grace happen... yourself, right now, right down here on Earth.

But there isn't any second half of myself waiting to plug in and make me whole. It's there. I'm already whole.

Every sentence has a truth waiting at the end of it and the writer learns how to know it when he finally gets there.

I don't sit in the corner waiting for death: death has to pursue me. I'm going strong. I hope to reach 100 and ask for an extension, just like my grandmother did.

Eric McCormack is directing talent waiting to happen.

You know, I'm not making top dollar, but when you're making top dollar, there are a lot of people waiting for you to fall.

The thing I hated about it was that you live in your trailer all the time and then they call you and you do maybe two dozen lines. Then they do that for three hours and you wait and wait and wait, and I don't like waiting.

I grew up with six brothers. That's how I learned to dance - waiting for the bathroom.

Congress should be forward thinking in the policies we set, instead of waiting until catastrophe looms.