To be animating at the same time, it's the ultimate freedom in filmmaking because you can literally put anything on the screen that you can imagine.

So much of the writing is not conscious, in the sense that it's not calculated. I remember in film school we had so many studies with big fancy words where you could dissect a movie and make charts of all of the characters' complicated inner relations and themes and what does this mean? And it's overwhelming as a student. It's great for a student, but as a writer, it's paralyzing.

I think some of this just feels right. You're in the shower and you come up with a sentence and it's beautiful. You don't know how it's going to fit in the film, but you put it in because it feels right. This is a very long way of saying, so much of it is me feeling like I'm catching ideas rather than coming up with ideas. It's very fluid like that.

To me everyone goes through that at some point in adolescence, you know. There's - you meet someone when you're a young teenager, and they're never right for you, and you always wind up hurting someone on the way to figuring out all this stuff. But it was a fun writing process.

It's great for me to hear those different reactions because when I travel with a movie like this [World of Tommorow], it's very similar. You'll hear a line in one city get a big laugh, and then in another city, the same line kind of gets a gasp, and that's wonderful.

After working so long on something like this, it's great to go out and meet people and see the reactions and remind yourself that, oh, yeah,, I wasn't just working in a cave by myself for no reason...

There's really no reason film and digital can't happily co-exist and benefit from one another. Anyone who tells you otherwise is just trying to sell you something.