BD: And Arthur Christmas, the co-production with Aardman. Tell me about that.

RB: The show is starting in Bristol and then moving to Culver City, so we're going to be having Aardman artists working side-by-side with Imageworks and Sony Pictures Animation teams, so it's a truly collaborative effort. It's completely CG and it's going to have a great look. Anything Aardman does I just love anyway, but this one has a very unique take [on prepping for Christmas] and a very fun look. It's such a great opportunity for us to work with them. And for Aardman, this is particularly important. They have a particular way they want to work, they have a particular method of telling their stories and a workflow, so from a technical perspective, we want to make sure our pipeline supports the workflow that they want to accomplish. And even if that means adjusting our workflow a little bit, we want them to be comfortable. And we're really glad that we can bring a 1,000 or 1,500 shots in their schedule.

BD: Letting Aardman be Aardman.

RB: Absolutely: we can provide the scale, the infrastructure to handle it, but we want it to be their run of the show.

BD: And after working in Bristol, they will be coming here?

RB: Yes, their artists will be coming; the directors will be on site with the producers. My understanding is that in a few months, the majority of the work will be coming to Culver City.

Bill Desowitz is senior editor of AWN & VFXWorld.