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.

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...

Usually the more money that something takes to make, the less interesting it's forced to become.

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?

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].

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.