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.

When people feel safe, they can come up with ideas. It's important to listen to the actor who is there on the stage and living it.

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

A lot of the time in animation is spent getting the story right - that's something you can't rush.

There aren't a lot of female story artists, and it's baffling to me. There are a lot of kids in school that are female and I wonder, 'Where did they all go?' People have brought it up, asking me, 'What did you do?' I don't really know. I puttered along, did my thing and gender has really never been an issue.

You have to make sure that people are still motivated and happy and creatively challenged so that it can all be stitched together. The voice acting starts after a lot of the storyboards are done.

If you have a movie that doesn't strive to go to a certain emotional point, you can do anything and it will be fine and funny. But if you have something pretty emotional at its core, you have to make it right. You don't want it overwrought or unearned. Everything has to be moving towards this one thing.