Whatever I do might be good, it might be bad, it might be all sorts of things, but it's not mediocre.

Invariably, what I'm trying to do is more ambitious than the budget, but we manage to do it somehow.

To me, the stories that have always intrigued me are the stories of people leaving my movies and being affected by them. They walk home 20 blocks the wrong way. Or they lock themselves in their office. Or they find themselves weeping when in the shower after the film. And those intrigue me, because I know I've touched something inside them.

The whole point of animation to me is to tell a story, make a joke, express an idea. The technique itself doesn't really matter. Whatever works is the thing to use.

All films are learning processes. I am still trying to work out how you make a movie. I didn't study at film school or any of those things. I didn't bother with film theory.

I'm overwhelmed by writers. Most people aren't impressed by writers, but if you can draw a cartoon or a picture, they think you're magic.

When it came to slaughtering sacred cows with such crude yet perfect musical precision, there was no one better than Frank. I wonder what songs he's teaching the angels right now? Good luck God! You've got your hands full this time.