My directing is really weird. Everything is based on whether it's working or not. I don't try to fix something if it's not working, I'll just change it.
Working with the actors, working with production designers, working with the creative people who surround the process is really fun, it's really inspiring and I take great pleasure in working with them. That's what's most fun about directing.
If you wrote a crummy line or maybe didn't sing to the best of your ability, there's layers of 10 different instruments all working to convey something. In writing prose for the memoir, if it's not working, it's just not working. It's harder to figure out how to fix it.
Get yourself out. Be brave. Don't leave before you're ready, because you should know that you tried everything. So there's a conviction and a confidence when you step away from something that may or may not be conducive to your life. I think if you run away too quickly, you're going to have that "Oh God, did I try everything?" feeling. Try everything. Make it work. Do everything you can. If it's not working, then know when the signal is and move on. Change. Try something different.
Film work can be anything from just really hard and stressful and you're subjected to really weird deadlines to really draconian and weird and disconnected. You're working in service of the thing, and that can be really amazing for everyone involved, or be kind of just a waste of time.
I have gotten better at being patient and sitting with discomfort. Before I would worry and try to fix an issue and force circumstances to change or try to change people's minds sooner than was realistic. Now I wait and trust that everything passes and time really does heal everything.
I try to keep it really real on my social media, whether it's me training or working out, whether it's me practicing or failing at something.
So much of what we do addresses the issues that are associated with climate change, whether it's working to reduce emissions, whether it's working to nail down our renewables, whether it's ensuring great efficiency in accessing all of our energy sources.
When a relationship with a director is really working, you have the same idea at the same time. You go, 'Look, this isn't working,' and they'll go, 'I know it's not working. What are we gonna do?' And you go and try something else.
I'm going to be working on my shot. Working on extending my range. Keep working on everything, and really studying the game.
When I was younger, my whole sense of self-worth was based on whether or not I was working, which was awful. And I had a baby at 20 years old, so it wasn't just about me. At around the age of 30 there was a stretch where I wasn't working - certainly not on anything I liked, anyway - and I started to do other things.
As filmmakers, you're not working on just one project, you're producing something, directing something, shooting something, and so it becomes hard to do it by yourself.
I get really weird when I'm not working. I have to keep working.
The beauty of my job is I do all different kinds of film directing, not just surf films anymore. And I do stuff from commercials to short films to working on feature films, and none of it is based from where I live. It's all based elsewhere, so I can live anywhere and commute to where I need to go.
We are working hard to build a service that everyone, everywhere can use, whether they are a person, a company, a president or an organisation working for change
I love directing; it felt right to me when I did 'Flying Lessons'. It's something I will do again. Really, you can always be working and developing. That's something that's kind of ever constant.
The good thing about animation is that you can affect it. If something is not working, then you just fix it.