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.

If you write a bunch of different characters with a bunch of different opinions, you end up with these long scenes of everyone standing around talking.

The way you think either stands in your way or assists you in achieving your goals.

I like to begin every screenplay with a burst of delusional self-confidence. It tends to fade pretty quickly, but for me, at least, there doesn't seem to be any other way to start writing a script.

Who you think you are is only a thought.

Adversity challenges the masks we hide behind, revealing sides of ourselves we have not yet comfortably with the world outside. It is why we dislike adversity, because we have to face what we don't yet understand about ourselves.

In live-action, writing, production and editing happen in discrete stages. In animation, they overlap - happening simultaneously. This allows a real dialogue to occur between the writer, the director, the actors and the editor, and it makes the writing process a lot more collaborative and a lot less lonely.