We always try to make the very best movie when we're working on and we can only think one at a time. We want to make this a perfect jewel, and then we'll see what happens after that.

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.

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.

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].

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

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.