We had decided from the beginning that we would animate using a temp track and then record the final voices as a dub over the final image. This was necessary in order to fit a one-year long storyboarding process into a two-and-a-half year production; animation had to start on one act while I was still storyboarding and finalizing the dialogue for the following acts, and we did not want to split the voice recordings into three sessions separated by several months. We relied on the fact that in Spain there are actors with a lot of dubbing experience and when the time came they didn't disappoint. Their work, which was done in very difficult circumstances as we were behind schedule and didn't have final image for the entire film when they started recording, was extraordinary. All credit should go to the actors and to Charo Pena, who directed the recording sessions. They practically didn't need any input from me. I also had the help of Angel de la Cruz who is a Galician speaker, since the original version was done in Galician.

 BD: What pleases you most about the movie and the response toward it as an adult drama that just happens to be animated? 

 IF: Well, you've just said it: it is an adult drama that just happens to be animated. That's what pleases me the most, that people recognize it as such. So far people who have watched Wrinkles have responded very well to the fact that it is an animated drama. I think it shows that the two things, animation and drama, can go hand in hand and that animation need not be limited to certain stories or a particular narrative formula. 

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Bill Desowitz is former senior editor of AWN and editor of VFXWorld. He has a new blog, Immersed in Movies (www.billdesowitz.com), and is currently writing a book about the evolution of James Bond from Connery to Craig, scheduled for publication this year, which is the 50th anniversary of the franchise.