I just try to be honest, because I think that's part of my job description as a writer.

I graduated from college in 1980.

Yeah, once we decided to use that replacement animation, and the seams are a function of that animation, and other movies paint those out, we decided we wanted to keep the presence of the animation and the type of animation that it was rather than make it look polished. It created a kind of vulnerability, I think.

There's a point I can get to where I start writing character and then through the dialogue, after all of this preparation, the thing starts to feel like it's a character developing through the dialogue. A lot of character traits do come from writing dialogue, but I have to be ready to do it.

From my vantage point in writing a story, I can't and don't and have no interest in thinking about the level of sophistication of the audience. I can only think about what interests me, and maybe what I would want to see if I were watching the movie. To me, that's the key to writing something that's not pandering.

I can never watch anything I've been involved in, because I know it, and I know what the making of it was like, and I know what's been cut out and changed. I just know it.

I actually think I'm probably more interested in structure than most people who write screenplays, because I think about it.