For me, drawing is the greatest joy. Animation is never as good as when I'm sitting at that desk drawing. Even when it's up on the screen, it's never as wonderful as those moments when it's drawn, to me.

People are who they are by the way they react to things.

There's an image of Rapunzel free, flying in the air, as a sunburst, which says so much. This is a girl who has to get out and bless the world.

At one point, I animated villains in our stories, a bear or a giant, then on The Little Mermaid Ariel just called to me and I started to fall in love with characters who had that burning desire inside of them, this hope.

I find that you're drawn to certain stories, and there's something about fairytales that have deep roots. They connect really deeply to you, and those are the stories that I find myself drawn to. I love characters that believe the impossible is possible.

I don't know how to animate on the computer, and I'm really grateful that I worked with a couple of other guys. We called it our triumvirate, John Kahrs and Clay Kaytis, who really understood computer animation but loved and embraced hand drawn, which is Disney's heritage.

Believe the impossible is possible