We would always have very in-depth sessions together, not just my story editors but my storyboarders I’d also involve the designers and art directors. I like to talk to everyone because I want the world to feel really cohesive, and they brought so much to it. What I love about the storyboard-driven process is it’s very true to golden age animation - Looney Tunes, classic Disney shorts, they were written by the artists that were drawing them. I think it’s fantastic that this tradition is still alive today, of cartoonists writing their own material. Is there any downside to the collaborative approach? It’s a visual medium, and it’s so exciting to me to see it reach its potential, when the story is conveyed not just through what people are saying, but their posture, the expression on their faces, the style, the color, the background - everything. It’s an extremely difficult process, but it’s so worth it - I think the results are incredible. I find it really comforting to know that whenever I have a plan I can bring it to the room, and it will become a discussion. We have very heated arguments about what we should do. But they're extremely productive, and some of my favorite ideas from the show came directly from arguments that we had. The climax of “Change Your Mind” with Steven and Pink Steven is the result of a big group argument, all the way when we were writing season 1. We wanted to tell a story about friendship, this true love that Steven has for his family, but there’s also this twisted version of friendship. There's also this aspect of Spinel that is about our young audience we started with. We’ve been making this cartoon for so many years, and to see people grow up, and move on to other things, it’s difficult because we’re still here, trying our best to be entertaining (laughs). So, this character to me is also about that pain of making cartoons, understanding that your audience might move on and leave you behind, and how ridiculous that can make you feel.
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