The fluidity of thought is based on the flexibility of beliefs and the emotional boundaries surrounding them.

Changing how you think costs you no money and it takes no special talent. It does take a commitment on your part to be different.

One of my favorite films is LATE SPRING by Yasujiro Ozu. To me, it represents film as art.

If you only know something one way, then you don't really know it.

The number one metaphor I have in my mind for writing a screenplay is that...you're trying to climb a mountain blindfolded. And the funny thing about that is, you think, 'Okay, that's hard because you're climbing up a rock face, and you don't know where you're going, and you don't know where the top is, you can't see what's below you...' But actually the hardest part about climbing a mountain blindfolded is just finding the mountain.

In terms of writing characters or stories, at least initially, there's no difference between live-action and animation. A good story is a good story, whatever the medium.

I figured I’d probably write 50 scripts in my life. Out of those 50, I figured maybe five would be produced, and that maybe one or two would be successful. So I always kind of expected I’d write at least one successful film in my life. [...] The way it all came together was kind of like Murphy's law in reverse—I don’t expect that kind of experience again any time soon.