We can save it.” That was a component they really just wanted to be able to share. It was, “The world’s going to be saved by us together. What they were encountering while they were traveling through Southeast Asia was a very much a “we” component. In the west, it’s very much an “I” thing: the world’s in trouble, one person or one group of people is going to save it single-handedly. That’s where it all began, and I think part of the DNA of it, too, was they were all very much inspired by the cultural differences on how hero stories are told between Southeast Asia versus the west. I think the elements that they were really excited about was: 1) highlighting cultures that weren’t often seen in big major motion pictures, especially nothing that’s ever happened in a Disney animation before and 2) they wanted to tell a big epic fantasy story with a dragon, specifically one of the dragons that they encountered through the architecture - the Naga of Southeast Asia. They traveled to Southeast Asia and were inspired by the cultures there and came back just basically hot to tell a story there. About six years ago, a group of story artists, animators, and filmmakers went searching for a story. The way that movies are done at Disney is basically a group of artists or a filmmaker will get inspired by something, and we go into a heavy state of research. So my first question is, how did you get involved with Raya and the Last Dragon? Can you tell me a little bit about the genesis of the movie?
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