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.

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.

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.

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.

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.

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.

When I was in middle school, I liked to make cartoons.