I grew up watching classic animation, and I have always felt that the roots of animation is in fantasy and taking it in places that you can't go, any other way.

You win the Oscar, you get to go into just about anybody's office for a month. I had a lot of meetings.

I've been working in computer animation for 25 years. I'm obviously a devotee of the technology. I just think it's the one aspect of the medium that's going to continue to revolutionize the filmmaking. It's constantly changing and it's constantly opening up new possibilities. The technology is evolving where 2-D animation was ultimately limited by how long you could pay how many people to make a movie. I mean computers, not that it's in anyway a labor saving device, but it promises to open up exciting new technical possibilites.

I think I probably am doing animation because I started as a kid and I learned on my own, and I worked by myself a lot. It's the only thing I really prepared myself to do in any kind of depth. And I've just kind of imbibed the technology and techniques and the thinking about telling stories this way. It just feels natural to me.

What made 'Ice Age' work is that it had its shiny candy coatings, but inside was a soft, creamy center.

I grew up watching classic animation, and I have always felt that the roots of animation is in fantasy and taking it in places that you can't go, any other way.

You look at Japan and Hayao Miyazaki's films are the biggest films ever made in Japan; domestically there and they play to critical acclaim around the world. He won't put more then 5 or 10 percent computer imagery in his movies. It's disappointing to me. It's a silly choice that some studios made to move out of animation. It's part of the unfortuneate preconception that I think the public has going into see animation.