Yes, I think it's great. I think the last Star Wars that we did was probably the hardest production I've ever been on… Just because of the time crunch that we were on, and the level of difficulty that we had set up for ourselves.

And the opportunity to do the opening scroll-story for Episode III was, you know, a great opportunity that I couldn't pass up. And so, we kind of just knocked it out. And you know… I probably worked until midnight on almost every day of production.

When you first started working on STAR WARS: CLONE WARS a few years back, what was some of the STAR WARS-related research that you and your production team embarked on?

Well, really, I don't really think we even did any [laughs], because STAR WARS is kind of a second language to us, you know? So, it was kind of like, "here's STAR WARS," and I was thinking, "All right, we're going to go for it." There's really no research needed, I don't even think I watched the older movies over again because you just know them right?

There's so much source material out there already...

Yeah.

Did you team prepare for production on the second volume in any way different than you had for the first?

Hmmm, no, we just knew that we set up a slightly different way of production… by doing actual menu layouts and the storyboard process. But that's the only thing different, because otherwise you know; we've been doing television shows for thirteen years… So we kind of… once we have something like this kind of a hit, we know what to do with it. 

 What was the most challenging aspect of directing this latest Volume?

I think just that the speed that we had to do [production] at. You know, and it was also a longer story so we wanted to make sure that it was entertaining in all parts. So, it was a challenge, because you know people are eventually going to watch it like a movie… but then initially they are going to watch it five segments. So there have to be kind of two schools of thought going into [production]. Once all of that preparation is all figured out, then it's all just execution.

How did you and your creative staff deal with the responsibility of introducing General Grievous into the mythology?

It was great, but again you know I wish we had more time to think about everything… but it was, "Hey! George wants you to introduce General Grievous and here's a little bit of direction… and go! And give it to us by next week." And so you know, it's really the ultimate TV production schedule, because you just don't get a chance to analyze. We would be thinking: "Okay, he should do this and this, and here's a couple of drawings of him... Okay, I like this, this, and this, and okay... and, it airs in three months."

It's very fast paced...

Yeah. You have to make a decision; you have to stand behind it, and you have to feel good about it. And I mean, we've always done that, and you just never… you really never get a chance to second-guess yourself.

Was there anything that you sought to accomplish in Volume Two that you were unable to accomplish in Volume One?

Yes. Character development. That was the biggest thing that we wanted to focus on. I mean, we still wanted to have a lot of action--because you just need that--but in the first Volume, because those were only three-minute episodes, we were looking to do a lot of character development and dialogue… but it takes a lot of time. The dialogue it takes a lot of time. When you have just three minutes, and when you have two and a half minute dialogue sequence and thirty seconds of action, you are going to feel betrayed in a way… So, in this one, we definitely put in a lot of sequences where it's just Obi-Wan and Anakin talking, or Padme and Anakin, or Grievous and Dooku… we really wanted to focus more on the relationships.