It was so complex [in "Trolls"] that the technical team had to build a new program. It was about rendering and manipulating that weird hair. We also wanted to break the mold of what what we thought the princess was about...we wanted to keep her troll 'look' - the stumpy legs, an ugly/cute look, it was all inspired from the doll.

I was trying to foster a great working relationship between those two departments [design and the writing teams], because classically in animation the two don't get along.

Mike [Mitchell] brought me on as co-director, and eventually we ended up sharing a brain. It was overwhelming initially when I was working with departments I hadn't had contact with before.

The number one thing is creating this world ["Trolls" ] - what the world is going to look like, feel like and what technology will we need to use to get there.

I had to sit in front of all these people, and act like I knew what I was doing. I faked my way through it pretty well.

If you hug someone for seven seconds, it gives you a chemical drop in your brain.

I've always loved that film ['The Three Caballeros'], and we were looking for a way to apply it to our own work, and 'Trolls' was it - psychedelic, musical and kinetic insanity.