The most fun is to inhabit the world where cartoon physics is king. And that just means that things move with kind of an energy and exaggeration and appeal that is different from what we see in our world. We're bound by, at least, Newton's Laws of physics here and in animation we're not. So, director's can be extremely eccentric, you can sculpt motion in animation in a way that you just can't do any other way. In any other performance medium.

The most fun is to inhabit the world where cartoon physics is king. And that just means that things move with kind of an energy and exaggeration and appeal that is different from what we see in our world. We're bound by, at least, Newton's Laws of physics here and in animation we're not. So, director's can be extremely eccentric, you can sculpt motion in animation in a way that you just can't do any other way. In any other performance medium.

For me, part of the fascination with making animation is you go to a place; it's a complete immersion in someone else's fantasy.

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

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.

Animation has always been about technology. You can't have animation without technology.

Fox came to us with the concept for ICE AGE and they came to us with the first draft of the script. They also gave us a mandate to make it into a comedy from what was previously a rather dramatic action concept.