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Pixar is going in the direction of the early Disney. And it's also corporate, where they have four or five projects in the works. I don't want to get into that subject.

Working at Pixar you learn the really honest, hard way of making a great movie, which is to surround yourself with people who are much smarter than you, much more talented than you, and incite constructive criticism; you'll get a much better movie out of it.

Increasingly, there's much better material on television, but there's not always the time and money to make it, so you've got to make sure you make it in the right place. It also depends on time commitment; a lot of directors will make a pilot, but a series is just a whole other level of involvement.

I'm not as successful as Pixar or Dreamworks, and that is disappointing to me, because I think my films are as valid as a Pixar film. I think there's an audience for my films. I know there's a market for someone like Quentin Tarantino, who basically does adult cartoons in live action.

TV is like high school because you go into these series, and the people that work there have been doing it for seven years, like 'One Tree Hill,' so you are going into what is already a family - if you are accepted by that family, then it's fantastic fun.

I want to make movies, TV series, wherever the career takes me.

Working at Pixar has been like my graduate school for screenwriting.

I think we can launch - successfully, high quality - around 20 original scripted shows a year, which means every 2 1/2 to three weeks you're launching a new season or a new show on Netflix meant to be for really diverse tastes all around the world.

Everything I do and everything Pixar does is based on a simple rule: Quality is the best business plan, period.

Once we can do Pixar-quality graphics rendered in real time with interactivity, I could see games costing $200 million to make, and all of a sudden you have to sell a lot of games just to break even, so I'm a little worried someone's going to do that.