I'm more intrigued by things that I haven't really conceived of yet. I have the luxury of being able to think: "I've never done a ballet or an animated film myself." There are certain things that I feel I'd love to. I just want to keep trying new things and seeing if I'm any good at them, and if I'm not, then at least learning that. I definitely think I'm more interested in what medium I can explore right now than any specific story.

The thing about a hero, is even when it doesn't look like there's a light at the end of the tunnel, he's going to keep digging, he's going to keep trying to do right and make up for what's gone before, just because that's who he is.

Veronica solves little puzzles because she, like all of us, cannot unravel the bigger ones.

I write to give myself strength. I write to be the characters that I am not. I write to explore all the things I'm afraid of.

When it comes to the iconic moments, you sort of have to take all of those things and distill them the same way the costumers do and everybod Distill them and then find your own. The most iconic moment in the movie is, assuming they do, when they assemble.

The goal is always about the next story. It's always about the thing I haven't done before. It's about learning, or it's about becoming better, and it's about whatever story grabs hold of me.

I do remember what I said. The promise. To protect her. If I'd done that ... even if I didn't make it, you wouldn't've had to jump. I want you to know I did save you. Not when it counted, of course. But after that. Every night after that. I'd see it all again, do something different. Faster or more clever, you know? Dozens of times, lots of different ways ...Every night I save you.