At Pixar, I don't have to compromise at all. When I look at the finished "Toy Story 3," I don't sit and constantly think, oh, the actor was having a bad day, or oh, it rained and we couldn't use that set. The story that I wanted to tell is what is on screen, and I haven't had to compromise it one iota.

At Pixar, I don't have to compromise at all. When I look at the finished "Toy Story 3," I don't sit and constantly think, oh, the actor was having a bad day, or oh, it rained and we couldn't use that set. The story that I wanted to tell is what is on screen, and I haven't had to compromise it one iota.

If you're working on something and it's not coming together, it's easy to say, "I don't want to show this, until I've figured it out." But a lot of times you don't really solve the problems, and then you start getting into a bad situation because you don't have the time to fix it.

If you try to target a movie at kids, you end up with something that makes parents take a nap.

You can tell a story clearly in the storyboards, but if you don't keep the correct focus in the animation, it can be ruined.

It's one thing to make peace with the idea of something that's going to happen someday; it's another to find yourself at that day.

I think the moment you try to make a movie for kids, you make garbage.