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

I think it's really nice to have an authenticity, it's a huge source for us to be able to lean on people who have that knowledge.

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.

As quiet as I am I find it amazing I can stand in front of hundreds of people now and make a speech because i've had to do it so much. I've so much support from the people around me that I can achieve something like that, crazy introvert that I am, I never would have thought that would happen.

Oriental DreamWorks did a lot of the surfacing of the village [in Kung Fu Panda 3] and you know all the little paintings on all the gables and everything? They have meaning, and they could do that because they know what that means, we don't necessarily know about that over here.

We did two films [Kung Fu Panda], because the first two films were so embraced by the Chinese audiences we wanted to make something we could push further and since this is a co-production, it seemed like the perfect time to create something that felt native to Chinese audiences.

I've been drawing my whole life. My mom says my sister and I were drawing by age 1. Animation seems a real, natural extension of drawing as a way of telling a story visually.