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.

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.

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 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.

Growing up, my sisters and I would always talk stories. One of my frustrations was I didn't know anything about cameras. I didn't know how to make a film and I obviously didn't have a special effects budget. I was a kid. So I was learning to draw to get down the stuff that was in my head, that I couldn't afford to actually do.

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

I'm a very soft-spoken person. I don't throw furniture. I don't throw tantrums.