It's naturally kind of humiliating and strange to have a microphone; when you're young you just make movies, you don't worry about all the peripheral stuff that comes with it.

I've never felt really creative or intuitive using software. I like paper and pens and paint. I need to angle real lights on my artwork and work with my hands and build props. Computers just take all that fun out of it [animation drawing].

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.

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.

What's interesting is when you talk about that - "living forever" or as long as you possibly can - what you really want is a continuance of your memories and your experiences. If I said you could live another 200 years, but we'd have to reboot you, that's not attractive. Nobody wants that as much as a continuance of your experience.

Both the writing and the visuals in that sense are very exploratory. It goes back to my rule for myself [in] making it.

No matter what decade science fiction comes from, it's representing the present.