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.

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.

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 wanted the Andy of Toy Story 3 to be right on the cusp, straddling childhood and adulthood ... I wanted to find this sweet spot where he had gotten tall and had clearly grown up but still retained many boyish qualities, including a boyish charm.

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.

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

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