They're expecting us to make mistakes, and they've set up a process that allows us to correct for that and do it again and iterate. So I think that's a real key to the films that we've made.

Toy Story we found, sorta by accident, because we didnt know what we were doing, the idea of being replaced by somebody. Everybody has that fear, or encounters this jealousy at some point.

There's something really emotional about not having any sound. That allows, I think, the audience to participate more actively and kind of imagine what are they talking about there?

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.

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.

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.

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.