Two Brits are attending the Oscars as nominees for the fourth time this weekend - you'd be forgiven for not recognising them, but if you have children, you'll definitely know their work.
Martin Pope and Michael Rose are the producers behind Roald Dahl's Revolting Rhymes, which has won them an Oscar nomination for best animated short film - the fourth nod for their company, Magic Light Pictures.
The idea for the animation came to them six years ago, when Martin brought in a copy of Revolting Rhymes his mother had first sent him when he was a student - telling him he was reading too much pretentious literature and that Dahl was much better.
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The short film, directed by Jakob Schuh and Jan Lachauer, has already won a handful of awards, including a Bafta Children's Award and an Annie Award.
Its voice stars include Dominic West, David Walliams and Rose Leslie and it was made in Berlin at a specially-built studio. Martin and Michael spoke to the as they prepared for the Oscars on Sunday night.
Michael: It's the highest honour - the films we make are such long journeys. You're being judged by your peers, so just being nominated is great.
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Martin: The red carpet is one of the most amusing things I've ever seen. It's like a massive zoo. In a wonderful way!
Michael: There's such a huge build-up to the Oscars which ramps up and up and now it's at fever pitch. On the day itself it's off the chart. But when the ceremony's over, it's like the whole thing deflates, and they start sweeping up. By the next morning it's all gone - it's as if it was a dream.
Martin: As you're queuing to get a taxi, you find yourself queuing with these stars. Everyone has to stand in the queue together, when earlier on you were separated.
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Martin: I gave Michael my copy of the book in 2012 and we started talking about it. We were looking for something - we had done films with rhyming in it, and it struck me as amusing and fun and surprising.
My mother had given me the book, She had poo-poohed the fact I was reading all this pretentious stuff at uni and said this is the one she was teaching at primary school, and sent me her copy to read.
When she passed away, I inherited it - and that was the copy we took to Quentin Blake when he saw our first test animation, and he signed it, with 'hurrah'.
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Michael: The great thing about Dahl's book is that it's a collection of fairy tales retold in his inimitable voice with his witty, mischievous take on them. It's less telling Little Red Riding Hood and the Three Little Pigs than conveying Dahl's voice through the piece.
We constructed the idea of the wolf as the unreliable narrator who has his own story to tell - that was the way for us to bring Dahl's voice to the fore, as it's all about his storytelling.
Having the film put together two young heroines who triumph unexpectedly, in the way the original fairy stories do not allow, is something we really enjoyed. The fact there's a banker pig as well is kind of amusing. It feels very modern and that's fun. He wrote a long time ago, but is speaking to children now.
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Martin: Dahl's sense of mischief appeals to the child in all of us. He writes for children - he writes brilliantly for them and they understand them very well. His imagination and understanding of them is what makes it work.
Michael: That moment for us, where making films for when the whole family watches together, is the thing that drives us. Kids are so often in their rooms with their devices - the prize is that moment where the whole family still wants to get together at Christmas.
Martin: He's taken these stories every child and adult knows, or thinks they know, and he twists and changes it. It's about the child, the hero and heroine, coming out on top. The antagonists tend to be adults, and they tend to end up badly. It's about being child-centred.
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Michael: I think British animation has been on the up for many years. There's incredible talent in this country - and it all comes back to story and character in the end.Variety, though, says Brad Bird's film - out in the US on Friday and the UK on 13 July - is not... the great sequel his 2004 original deserves.
Picking up where the first film left off, Incredibles 2 sees its cartoon clan of clandestine superheroes fight to have supers accepted again by society.
This involves Helen Parr going out to fight crime under her Elastigirl alter-ego, while husband Bob - aka Mr Incredible - stays home and minds the kids.
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That's easier said than done when you have a son who can run really, really fast, a daughter grappling with the problems of being a teenager and a baby only just discovering his own super powers.
Featuring the voices of Holly Hunter, Samuel L Jackson and Brad Bird himself, Incredibles 2 also sees the return of ice-generating do-gooder Frozone and superhero costumier Edna Mode.
The result, says the Washington Post, is an engrossing and visually stunning adventure that is both pop-culture eye candy and a sly critique of it.
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Writing in the Los Angeles Times, reviewer Kenneth Turan says it is unrealistic to expect Incredibles 2 to have its predecessor's genre-busting surprise.
Yet he nonetheless says the film is as good as it can be while also taking advantage of the advances in computer animation since the first film came out.
The 14 years between The Incredibles and its sequel have seen superhero movies from the Marvel and DC stables become international sensations.
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It has also seen the establishment of the MCU (Marvel Cinematic Universe), which has seen its comic book protagonists periodically join forces and occasionally come to blows.
Yet while Incredibles 2 has taken its time to reach cinemas, it is far from the only animated follow-up to be guilty of dragging its heels.
It doesn't end there either. Last month Aardman announced it was making Chicken Run 2, 18 years on from the first film's release.
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