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'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.

I think the one thing specifically that is most consistent, is that we want to harken back to martial arts movies because that's kind of the genre we're paying tribute to, so there are some similarities to a lot of films, because they all feed off each other!

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.

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!

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.

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