It's, like, you know, if you're sad, it's a way of connecting with other people. And we - a lot of times we sort of feel embarrassed by being sad, and we go off by ourselves to hide and cry by ourselves. But, really, it's a way of re-establishing relationship.

The idea kind of started with me just thinking about what would be fun to see in animation, you know - what have I not seen? For some reason, I got thinking about the human body and realizing, well, I've seen, like, traveling through the bloodstream and into the, you know, stomach and things.

Yeah, we were looking for a way to represent adulthood and the passing into adulthood. And I think, for me personally and a lot of the folks that I work with, childhood is kind of a sacred, special kind of point in time that has a real joy and purity to it. And we sort of long on a daily basis to reach back and kind of grab onto that in some way.

But the truth is, at some point, our films - almost every single one of them - are really bad. And it's largely hats off to John Lasseter and Ed Catmull who have set up a system whereby they're expecting it.

You have to think about good storytelling and characters first. Then hopefully, the rest of that stuff will follow, some more than others. But if you don't have a good film and strong characters, then you don't have anything down the road.

Well, the film initially - we had decided to pair joy with fear because I don't know about you - for me fear was a major motivator in junior high. So we thought there's probably some good stuff there... As the film went on, we had developed all these great scenes that were really funny, but in the third act, it wasn't adding up to anything.

Parents don't want their children to lose that purity and innocence of childhood. We want to bottle that and hold onto that, but it's impossible.