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.

Tuesday's coming, did you bring your coat?

I still have the same outlook on things that I did 10, 20 years ago. As an animator, there’s no career path that you can follow; there’s very few people doing this that you can look to and pinpoint the mistakes. It hasn’t changed since I was little. You have interests and follow them and strange things happen, organically or not.

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.

You have to leave the window open for better classes to come along as you go. You can't grow too proud of your script. You have to let the thing shape itself. It guarantees the best classes will always be used and it also keeps you from going braindead. If you grow bored and uninspired working on something, the audience will be able to tell.

I'd love to start some movements. What I'm tired of is irony, and sarcasm, and music/movies/what have you, not having the guts to mean anything.

So much of the writing is not conscious, in the sense that it's not calculated. I remember in film school we had so many studies with big fancy words where you could dissect a movie and make charts of all of the characters' complicated inner relations and themes and what does this mean? And it's overwhelming as a student. It's great for a student, but as a writer, it's paralyzing.