It's like you run into this dark tunnel, trusting that somewhere there's another end to it where you're going to come out. And there's a point in the middle where it's just dark. There's no light from where you came in and there's no light at the other end; all you can do is keep running. And then you start to see a little light, and a little more light, and then, bam! You're out in the sun.

Well, what if we did this in the mind as opposed to the brain? So instead of blood vessels and dendrites, what if it was consciousness and dream production? And that would allow us to have characters that represent emotions. And that felt like, man, that's exactly what animation does best - strong, opinionated, caricatured personalities. And that just got me excited.

I knew that there was an upcoming screening where not only were we going to show it to everybody else at the studio, we also needed to move into production... And yet I was sitting there in editorial going this is not working. I'm a failure.

And so not only did I have all new friends and all new surroundings, I didn't even understand what they were talking about, which was very difficult and kind of started me, I think, on my path to animation. It was a lot easier to draw people than to talk and interact with them.

If you were feeling sad right now and you recall a sad - or, a very happy memory from the past, it will be tinged with more sadness based on your current feeling. So we felt like that was actually on solid scientific ground .

And in part that's good but then, like any emotion - and this is something we learned from the research as well - there are positive and negative aspects to all of these.

We've tried to regulate things so that you at least get to go home at night and not have to pull all-nighters and see them on weekends and things. So, you know, like everything in life, it's a balance.