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

I remember feeling that technology was like trying to draw with your foot. In a ski boot. It was the most indirect way to work imaginable, but the potential had us all excited. I started in stop motion.

We can't worry about competition. Besides, you aren't competing with anyone but yourself. They have nothing to do with whether you make a good movie or not.

I get a lot of credit for Tron. They called us scene choreographers back then because the animation unit wouldn't let us be called animators because we were working on computers. And we were some of the first people ever to make 3-D computer animation.

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.

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.

Someday, I'd like to sit down with a small group of people, in a relaxed environment, and make a film that feels more independent. That way we can be a little more free in terms of storytelling and subject.