When you're casting a movie and when you're shooting a film, the eyes are the most important feature of any performer, really. Any great actor literally knows exactly how to use their eyes, and even as a filmmaker I love shooting huge close-ups because it's those eyes that mean so much to me.

I think that's the job of a director really, to sort of funnel all the creativity into one centralized point of being.

Every film is a challenge. I always say that making a movie is like film school - you're always learning. But unlike most schools, you never get done with it. You never learn everything.

Actors will never be replaced. The thought that somehow a computer version of a character is going to be something people prefer to look at is a ludicrous idea.

It's all about his determination. You never, ever, give up once you start something, once you're on the trail of something you don't stop and that's what you have to go through when you're making a movie too. Once the train's rolling, you have to stick with it.

Motion-capture is not a genre. Motion-capture is a tool and technique and what we tried to do was to really use both motion-capture and traditional animation to build a system.

I mean, I didn't have a huge upbringing with movies, I guess.