We actually needed the memory - if you see the film - as a very different kind of a plot device of revealing some information to our main character. So we chose to represent it as these sort of beautiful little snow globes, which kind of, weirdly, that's the way we think of memories - at least, most of the folks that we talked to. You think of these memories as being very pure and absolute and unchanging. That's not actually real life.

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.

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.

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.

Traditionally, animation has been dominated by men in the past. I don't know why it attracted guys.

We actually needed the memory - if you see the film - as a very different kind of a plot device of revealing some information to our main character. So we chose to represent it as these sort of beautiful little snow globes, which kind of, weirdly, that's the way we think of memories - at least, most of the folks that we talked to. You think of these memories as being very pure and absolute and unchanging. That's not actually real life.

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