Because also, sometimes things that are really funny on the day, when you look at them in post can feel too broad, you know? Sometimes not, but it's kind of weird how that can change.

Sometimes a scene can elude you, and then, you also learn that the small moments are really what you're after. A big broad moment that gets the crew laughing, usually isn't going to translate to an audience.

And then afterwards I worked in advertising for a year which taught me about writing even when you don't want to (laughter) because there's never a moment that you want to write about an Erickson cell phone but you have to. And that's really important you know obviously for the...like if you really want to write, you have to write every day no matter how you feel or you know. And then, yeah, and then I ended up working in TV and then from TV into movies and then directing, so.

I was able to bring my process of doing improv with actors into the animation world, which was fun.

I remember reading Dave Barry for the first time and being like oh my God I can't believe you can do this. Watching Mel Brooks and Monty Python and SNL and all that stuff really informed me as a writer and then at high school I started a satire magazine and the college like The Lampoon really introduced me to like you know a lot of very like-minded people who really wanted to like comedy was the center of their lives.

All movies are inherently collaborative, and animation even more so. There are hundreds and hundreds of people involved with an animated movie.

They literally have what they would call "a four-quadrant" movie that they could just release at any moment. Parents want to go there, kids want to go there, hipsters want to go there. It's like everyone will want to see it.