I don't think about the gender thing very much. But when I speak at schools, I've had female students say to me afterwards, "I never envisioned myself being a director, since I've never seen women do it." But after seeing me, they can picture themselves directing, so maybe we'll see more female directors.

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.

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.

One of the things we love about Po [Kung Fu Panda] is that he's vulnerable. He's someone that we can all identify with because he has those insecurities. He's an outsider feeling guy.

I think it's because Po [from Kung Fu Panda] is such a geek, and he is so relatable. He is so excited by life and is excited to learn new things. I think that accessibility is something that we all can relate to, there are so many things we wish we could do but don't have the means to achieve it.

Usually they have to deal with a dubbing situation or subtitles, and it takes you out of the experience. That's why we wanted to make something that felt really immersive for Chiniese audience, but it takes a lot of work to make 2 versions of a movie!