Cinco Paul

But now they're everywhere, unfortunately.

My apologies.

I don't know because, you know, we don't see any of that money in animation.

You don't see the merch money?

No.

We don't get residuals from the movies in animation.

It's kind of a pet peeve of mine, and I feel like it's unfair and not right because it takes as much work to write an animated movie.

It takes more, actually, than to write a live-action movie, but you're not protected by the Writers Guild, so.

It's a long story, but really, you know, when animation started out, they didn't have writers.

And so it's never fallen under the auspices of the Writers Guild.

There's people pushing for it and trying to make it happen.

And I think in TV animation, they've gotten more power for animation writers.

But...

But it's one of those things that if the studio doesn't have to give it, they won't.

And so you can imagine there's a lot of money that Ken and I could have gotten from these movies that we have not because we don't get residuals.

Not really, because I know it sounds super corny, but it really was never about the money for me, you know.

But for me, it was just, you know, we were doing all these sequels and I just was not interested in that and really wanted to stretch some other muscles, particularly the songwriting muscle.

And so that's really why I decided to leave.

The first cartoon I saw that really impacted me, I think, was The Jungle Book.

I loved that movie so much.