Soon I learned that the worse the puns and jokes, the funnier they could be, if you knew how to deliver them.

Every single Pixar film, at one time or another, has been the worst movie ever put on film. But we know. We trust our process. We don't get scared and say, 'Oh, no, this film isn't working.'

This is what I always tell my filmmakers-you have to do tons of research, because you don't know where the inspiration is going come from.

I quickly realized that this medium had a lot to offer someone like me. To do Disney-quality hand-drawn cartoons, you have to be a master of two art forms. Seriously, you have to be able to draw like a Leonardo da Vinci or a Michelangelo. But also you have to know movement and timing and control that through 24 frames a second.

You cannot base a whole movie on just the imagery alone. It has to be the story and the characters.

Humor is the easiest to achieve; the 'heart' is always the toughest, because you can't tell people to feel a certain way.

What's fun about the story development at Pixar is it's a journey. You don't just write a script and then that's the movie you make. It's just constant evolution and being open to that and that collaboration with the voice actors and with the artists and animators at Pixar.