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

Whether I'm directing live action or animation, my responsibility is the same. I have an audience sitting in a theater with their popcorn, and I've got to show them a good time and make them feel something.

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

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'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.

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.