Well, we try to - we definitely try to have a balance. And I think things have gotten a lot better at Pixar. When we did "Toy Story," that was an all hands on deck situation that really was time intensive.

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 .

People are funny -- they are able to project personality onto anything. I remember as a kid I spent a $ 5 bill once and felt so bad because the other $ 5 bill was now going to be lonely without all the other bills I had in my wallet, you just invest these dead things with life and that is our tendency as people. So animation takes advantage of that, grabs on to it, and runs with it.

And usually I'm not watching the screen. I'm kind of sitting and looking off to the side, spying on people to see what they react to' cause it's - as Joe Ranft used to say, you know, animation is like telling a joke and waiting for three years to see if anyone laughs

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.

However, for story reasons, we needed to represent them in certain ways. One of the things that sort of blew me away that I didn't know when we started is that memories are completely susceptible to change. And this is, you know, one of the many reasons why certain people are trying to get it taken out - eyewitness testimony in court cases because it's very unreliable.

So we can sit with Lee Unkrich and Andrew Stanton, and all the other folks and experience what the film is going to be like. And then we go away into a room, and we talk about what worked and what didn't. And then we take all of those findings and we do that whole process again.