You have to listen to the movie while you're making it. I think that's important.

Any director, if you really ask them, will tell you that the toughest thing to do is like a dinner table or a dialogue scene because you need to keep that electricity maintained throughout the course of the film.

You rarely get a tentpole that has this much emotional depth, this much character to dive into.

Really, each era has its own false nostalgia. We all put a picket fence up around something. For my generation it was the '50s, and for other generations it will be something else. Change is scary for everyone, as is complexity, contradiction, and an uncertain future.

In a complex and troubling world, who wouldn't want to simplify? Everybody does. Everybody wants to simplify and put up a picket fence.

Now, I just made an animated movie a few years ago, 'The Tale of Desperaux', and that had twelve hundred shots in it. Twelve hundred CG shots is a pretty big plan.

Why is every great children's story about a journey? Maybe that's because we are always on one.