We go for our own reality. I remember some of our guys saying it is way harder to make stylized art directed explosions of jade rather than a regular explosion of shrapnel.

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.

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.

We want to be proud of our work and make sure it's worth the talent of the animators, who spent four years of their love, sweat and tears on it.

I think more than being a woman is the fact that i'm an introvert. In the environment I work in people forget that i'm a woman which is wonderful it just shows what a wonderful environment i work in, no one treats me differently. They don't think that because i'm a woman i'll make decisions differently.

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.