I do what I do because of Walt Disney - his films and his theme park and his characters and his joy in entertaining.

I just devoured all of his [Buster Keaton’s] films because his sense of comic timing was amazing. He’s the closest a human being has ever come to a cartoon character. And I was just amazed at his sense of character and timing, the humor. It's all just so…sophisticated, even when you watch it today.

To take full advantage of computer animation, you have to pay as much attention to the believable as you do the unbelievable.

My father pulled into Pearl Harbor four days after the bombing, and he said, everything was still burning. He said they never told the public how bad it was. It was really bad.

Sure, they were simple desk lamps with only a minimal amount of movement, but you could immediately tell that Luxo Jr. was a baby, and that the big one was his mother. In that short little film, computer animation went from a novelty to a serious tool for filmmaking.

Slice open one of my veins and cartoons will pour out; open another vein and you'll get a flood of motor oil.

You have to do three things really well to make a successful film. You have to tell a compelling story that has a story that is unpredictable, that keeps people on the edge of their seat where they can't wait to see what happens next. You then populate that story with really memorable and appealing characters. And then, you put that story and those characters in a believable world, not realistic but believable for the story that you're telling.