We had Chinese artists that would put in elements for the Chinese audience like the calligraphy actually means something so the audience when they read it they'll understand. So there were definitely little things we were able to do that specifically leveraged the artists' talents.

Every movie goes through that U-shape where you start with 'Oh that's a great idea. I love it.' Everything's possible and then you face 'Oh, we can't do that, and that's impossible, and that's a bad choice.' You go the practicality of it. And then you come up to 'Great.' But that middle part is when you don't have results yet.

I'm not aggressive by nature and it was tough for me to make the transition to directing.

The story in that particular spot was an ancient history story, and we wanted to give it a historical feeling, which was why we used a historical calligraphy scroll come to life.

You have hundreds of artists you're dealing with across the world and the scale of this movie [Kung Fu Panda] was insane - we had a parallel pipeline going on where you had two versions recording Mandarin voice actors, getting it to be funny for Mandarin audiences going beyond a straight translation, and then animating it and lighting it, it's a lot of work.

When you see all of the pandas in this movie [Kung Fu Panda 3], they are rolling because that is exactly what they do. Not only were we able to watch the pandas play but we had free range to walk around and get a feel for the architecture and get a sense of where they lived ,so there's a lot of firsthand exploration.

We always try to make the very best movie when we're working on and we can only think one at a time. We want to make this a perfect jewel, and then we'll see what happens after that.