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We feel really lucky at Disney to work with a great stable of artists.

What we do sometimes when we're in the sessions recording the dialogue is we'll set up a video camera and we'll video the whole session. So then the animator, if he wants, can draw upon those tapes to pull expressions, mouth shapes, maybe some gesturing that happens.

We didn't ever want 'Tarzan' to feel like he was just a man. We didn't want him to stand up straight or wave good-bye. We wanted to make sure he always had that piece of gorilla in him, that he always had an animal attitude about him.

From the very, very beginning, we made the decision that 'Tarzan' wasn't going to sing. My co-director, Chris Buck, and I said to each other that we couldn't imagine a half-naked man in the jungle simply bursting into song.

The way we got Phil Collins for 'Tarzan' was that we heard around the studio that he was looking for a Disney project, and we got him. It seemed like a perfect match. Phil is a great musician.

I sat with the grandson of Edgar Rice Burroughs at the world premiere of 'Tarzan,' and at the end of the film, he was very happy. He told me that we were bringing 'Tarzan' to a whole new generation, and he was very grateful.

I'm sure they will have more sequels for 'Tarzan' where he goes to England, school, and whatever else they can think of. It's a natural that they will continue the series.

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