If an audience finds themselves paying attention to how you made your film, you're sunk because that means they're unplugged from your story. What matters is what's unfolding on the screen, not how you put it there. It doesn't matter if it's red triangles or million dollar software if the audience doesn't care.

I'm a bit of a weird creature... I'm self taught and went to a regular film school, not art school, and I think it's unusual for somebody to approach animation from that angle. In a sense I've sometimes consclassered myself more of a filmmaker who just happens to animate.

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...

Time travel is a thing. It can be very dangerous, and it's also very - it's an expensive thing to do.

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.

Most people's personalities and roles are locked by the time they're nine or 10. I think there's something to that.

I'm still learning. I've never done a digital project before. And I'm pretty sure I did things to the software that weren't supposed to be done.