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.

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.

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...

I'll have a sentence in my head that's kind of beautiful and interesting, but I'm not sure why or where it's coming from. So it's kind of funny, because when people point out patterns or themes, it's the exact opposite of my film school experience.

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].

Maybe the most annoying questions is: "Where do you see yourself in so many years?" It's a terrifying answer no matter how you think of it.