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.

To be animating at the same time, it's the ultimate freedom in filmmaking because you can literally put anything on the screen that you can imagine.

Fighting a cold, but I'm powering through. As they say, there's nothing better for a cold than doing interviews all day.

The only purpose of the visuals, in any film, is to serve the story.

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

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.

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.