The challenge and the goal was to get inside Owen's [Suskind] world, because I really wanted to see it through his point of view. To achieve that naturalism, I used a screen in front of a camera as I interviewed him

The relationship between a director and an editor in documentaries is so important.

I both didn't know Owen [Suskind] beforehand and didn't have any connection to the autistic community. But Owen wasn't really a problem, because he participated in the writing of the book and wanted people to see him as he truly is. As far as the cameras, Owen lives in the moment and the cameras really didn't distract him.

Symbolic racism is hurtful and it is especially hurtful to Black children who get called Black Pete in school and grow up with the sense that they are inferior to white kids.

Imagine that you're a gay man and you're spending all your time with people who believe you are possessed by the devil.

I don't think we're getting the empathy, and identifying with the situations that many African Americans experience. That's the problem with how the story is being reported.

Toward the end of the film ['Life, Animated'] we see 'The Sidekicks Story,' and that is a story that Owen drew himself. We took that style, which is decidedly different from Disney animation, and used it as a basis. It's a 'two-dimensional' hand drawn animated form, so I went to this company in Paris called 'Mac Guff,' and they assembled an amazing group of young animators, and brought it to life.