As a part of our series about pop culture’s rising stars, we had the distinct pleasure of interviewing Rick Suvalle.

Rick Suvalle is the Creator and Executive Producer of the upcoming DreamWorks Animation preschool series Dew Drop Diaries on Netflix. The series follows a group of three-inch tall family fairies who live inside teensy fairy houses on brownstone balcony gardens in “The Big City.” They have been assigned to human families to secretly help around the house with the little things that can often fall through the cracks, like making sure your first lost tooth actually makes it under your pillow before bedtime or your favorite toy doesn’t get left behind at the park.

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With the release of Dew Drop Diaries, Rick was interviewed by several publications about the show, its origins and the production itself. He was also interviewed on the Juicebox Podcast (a Type 1 Diabetes podcast) about raising two T1D daughters, and how they became the inspiration for the show. Click on the name of each publication below to be taken to the original posting/interview:

AWN: Animation World Network (Season 2)

AWN: Animation World Network (Season 1)

Animation Magazine

CBR: Comic Book Resource

Animation Scoop

L.A. Parent

Scary Mommy


We were lucky to catch up with Rick Suvalle recently and have shared our conversation below.

Alright, Rick thanks for taking the time to share your stories and insights with us today. What’s been the most meaningful project you’ve worked on?

I’ve been a professional television writer for over 20 years, always with the ultimate goal of one day creating my own series. And while I’ve been fortunate to have been given the opportunity to develop series, based on other people’s I.P., like “Thomas & Friends,” I still wanted to create something wholly original.

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Rick Suvalle is the Executive Producer and Creator of the new Dreamworks animated series Dew Drop Diaries, which will be debuting on Netflix in the Summer of 2023. He is originally from Wayland, Massachusetts, which is a suburb outside of Boston. Suvalle studied at Hofstra University in New York and earned a Creative Writing and Film degree. He originally moved to Los Angeles to write and direct film but later discovered his passion for working in television. The immediate fast-paced nature of television captured Suvalle’s heart, and he has been writing for television shows ever since.

Q. Why do you choose to focus on creating for a younger audience compared to a more mature one?

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Former Wikia admin, EpicLafiteau, got in contact with creator/former producer, Rick Suvalle via email for an exclusive and exciting new interview, here on the Thomas & Friends: All Engines Go Wikia!

1. To start off, did you have any prior knowledge of Thomas the Tank Engine before joining the reboot?

Absolutely! I was about 12 years old when the original series premiered. At the time I was a fan of stop motion animation as well as Gerry Anderson’s Supermarionation, so seeing a show with radio-controlled trains was really cool to me, especially with Ringo Starr narrating, as I was, and still am, a huge Beatles fan. I discovered the CG version of the show when I had my own kids and we watched a lot of those episodes together. And my kids collected the wooden railway toys. We also read the Railway Series books to our kids. So, I definitely had a working knowledge of the franchise before I began.

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In advance of the debut of Syfy Original Movie Roadkill, Dread Central had an opportunity to chat with screenwriter Rick Suvalle about his approach to this project and how he managed to make it slightly different than the average Syfy Original entry.

I can tell you from personal experience writing a Syfy Original Film is not easy. You know going in budgets are thin (transparent even), the special effects aren’t going to be very good, and casting is always a game of Russian roulette with four bullets in the cylinder. So, as a writer, you have to try and compensate for all of those hazards up front: use modest locations, limit special effects screen time, and include no complex dialogue or characters which require too much acting muscle. Yet, you still have to deliver the goods and tell a compelling, visually interesting story even though you don’t have the luxuries afforded even the most modestly budgeted theatrical release. As we know all too well, many fail in this endeavor.

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