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.

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.

Walt Disney had always tried to get more dimension in his animation and when I saw these tapes, I thought, This is it! This is what Walt was waiting for! But when I looked around, nobody at the studio at the time was even halfway interested in it.

We make the kind of movies we like to watch. I love to laugh. I love to be amazed by how beautiful it is. But I also love to be moved to tears. There's lots of heart in our films.

Sunday, for me, is all about being home with the family with no plans.

At Pixar, after every movie we have postmortum meetings where we discuss what worked and what didn't work.

The closer you get to reality, the harder it is to make it look convincing to the audience. That's why I tend to make things [films] that are a little bit more caricature.