You get a kind of surreal feeling and also it allows you to focus on the things we want you to focus on in a new way - the stuff that's very small and mundane that happens in a person's life when they're in a hotel room. There's more interest because you're seeing a puppet do things that you're very familiar with that you might not notice if it was a human doing it.

I actually think I'm probably more interested in structure than most people who write screenplays, because I think about it.

Yeah, once we decided to use that replacement animation, and the seams are a function of that animation, and other movies paint those out, we decided we wanted to keep the presence of the animation and the type of animation that it was rather than make it look polished. It created a kind of vulnerability, I think.

I think that people create the world that they live in. Your existence is very subjective, and you tell stories and organize the world outside of you into these stories to help you understand it.

The sad thing about working on a movie is that you can never see the movie.

I do like escapism. I like going to the movies on a Friday night and seeing something fun.

And so not only do you have to make that work, you can't really start putting the thing together in any form because some of the shots are very short and obviously many of them take so long, you're waiting months and months and months before you can see if it's going to be working emotionally.