Unfortunately, when you're working in film, it's this huge machine, and you've got to get everyone right there, so you get kind of locked into things. I'm not sure where the artistry in film making is. It's usually that moment when you're on set and you're working with the actors. That's the time to play around, the moment of theater. And then you can shape things. But a lot of it is just managing stuff. It's upsetting because you get away from the core.

For too long we have been taking, and the Earth has been giving. But that free-for-all, that all-you-can-eat buffet, it's over. The salad bar is closed.

At the end of Requiem all I wanted to do was get a DV camera and just do a small film. But then the hunger comes back.

Animators have to live life 24 times as long as we do - every 24 frames of a second.

I try to live my life where I end up at a point where I have no regrets. So I try to choose the road that I have the most passion on because then you can never really blame yourself for making the wrong choices. You can always say you're following your passion.

The whole visual language of the movie is developed way before we get to set. Especially when you're doing visual effects and you don't have a lot of money to mess around, which we didn't, you have to really preplan everything. Pretty much every shot in the film was figured out months before we got to set.

I hope that Requiem is better than Pi. I hope that Pi is better than my student films, and I'm hoping that I'm getting better as I get older.