Sometimes, you just have to go in there and bowl people over with your sheer force of will.

Growing up, my sisters and I would always talk stories. One of my frustrations was I didn't know anything about cameras. I didn't know how to make a film and I obviously didn't have a special effects budget. I was a kid. So I was learning to draw to get down the stuff that was in my head, that I couldn't afford to actually do.

When you make a movie, it's just so personal and then you put it out in front of people and it becomes something else.

The hidden village was something we found when we went to research in China we climbed a mountain in the Sichuan province where the panda sanctuary is based, and we climbed to this beautiful, mist-covered, almost primordial place and when we turned these corners these moss covered old buildings would come into view, revealing themselves and it was so beautiful and so unlike anything we'd seen that we literally took those moments and put them into the film [Kung Fu Panda 3].

I'm a very soft-spoken person. I don't throw furniture. I don't throw tantrums.

Talking to actors is the same as talking to any other artists; it's getting into the moment for them, and making sure they can lose themselves in the performance!

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.