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...

To me, that's where memories are very interesting because what happens when we start losing memories? What happens when you can't take your memories with you? Who are we without our memories, without our past?

Traditionally, digital projects, when you project them, they get really washed out. It's complicated stuff with gamma, but basically your blacks get very milky and the colors get very weak, and we made so many different versions of it to just pump more color into it, so it would look just as good in the theater as it does on your screen at home. And color was my constant whine. It needed to be very oversaturated.

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...

If you go to a film festival and watch a bunch of features and then watch a bunch of shorts, you will almost always find that the shorts are where people are taking more risks and pushing more boundaries...simply because they have much less to lose.

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.

I have friends and illustrators who can't stand drawing on the Cintiq. [A graphic pad tablet used by digital animators] There's a certain tension and friction when you draw on paper that they miss. The tablet is very slick. It's like drawing on glass. But that didn't bother me at all.