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.

They all sort of get mixed up in my head, to be quite honest. They're all dealing with similar things. It's about how you deal with reality, by ignoring it sometimes, reinventing it other times, and that's how you get through it.

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.

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.

The more money you have to work with, the more people you have to deal with that you probably don't want to be spending time dealing with.

Everybody gets excited about technology, but it doesn't interest me in the least. I'm only interested in it if it makes my job easier or cheaper. They're tools.

The success of the Hollywood marketing machine is to limit what we see. Not just to limit what we can see, but also to limit our expectations - to limit what we want to see.