You have to leave the window open for better classes to come along as you go. You can't grow too proud of your script. You have to let the thing shape itself. It guarantees the best classes will always be used and it also keeps you from going braindead. If you grow bored and uninspired working on something, the audience will be able to tell.

There's really no reason film and digital can't happily co-exist and benefit from one another. Anyone who tells you otherwise is just trying to sell you something.

It's naturally kind of humiliating and strange to have a microphone; when you're young you just make movies, you don't worry about all the peripheral stuff that comes with it.

If an audience finds themselves paying attention to how you made your film, you're sunk because that means they're unplugged from your story. What matters is what's unfolding on the screen, not how you put it there. It doesn't matter if it's red triangles or million dollar software if the audience doesn't care.

I've never felt really creative or intuitive using software. I like paper and pens and paint. I need to angle real lights on my artwork and work with my hands and build props. Computers just take all that fun out of it [animation drawing].

The only purpose of the visuals, in any film, is to serve the story.

Usually the more money that something takes to make, the less interesting it's forced to become.