A lot of the issues I faced in junior high was what got me into animation. It was easier to sit on the side and draw cartoons than to engage with people.

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.

And as I was sort of doodling, I was thinking, surprise and fear - probably fairly similar so let's just lose surprise. And that left us with five.

Yeah, to bring families together I need to go away.

It might have been introduced slowly over the course of the years as you recall this memory over and over. So that was a very cool but complex idea that we thought about representing in the film but could not find a way to make it work.

And it's about a three-month process every screening. And that way we have seven or eight chances at the film before we have to actually build the models, build the sets, do the animation and all of that. So it's a - I think that's a real key to the way we make films.

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?