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.

I'd like to drill in a little more detail into one aspect of cutting which is particularly close to me and that's dialogue editing. It is a vital part of editing especially in animated film, but in the end it is usually completely transparent to the audience. The vocal performances are reported for over several years and the actors are very rarely in recording studios together. That's why the editor has got to all these different performances and edit them together to create the illusion of spontaneity and real action.

We know screwups are an essential part of making something good. That's why our goal is to screw up as fast as possible.

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.

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.

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.