If anything, it's a little intimidating because there's usually a lot of brilliant work and a lot of brilliant ideas out there that you wish you had thought of, or that you just admire for the originality of it or the difference from what you've been thinking of.

I'm surrounded by a lot of live-action movie professionals, and I'm just taking their lead, as far as what to schedule to do next. I'm guessing the challenge is going to be not having two characters together, and shooting the live-action without having the animation. In animation, you get to get in between every frame and you work it all out together.

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.

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

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

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.

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