Now there is so much expertise and brainpower it's hard to be at the cutting edge of what's cool and not do something that's totally geeky.

The only way I know as a director is to figure out what the film is about. And out of the theme and the sense of what the film is about, all those decisions start to make sense. But to find that truth within it, you have to limit your possibilities and limit your choices. That's where this visual language grows out of.

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.

It's not that much of a difference. Basically, your job is the same as a film director. It's a triangle between creativity, money, and time. But they don't really change. You're ultimately trying to get the most creativity and time with the money that you have.

When people think about the ark, they're always thinking about all the thousands of years of religious iconography of a ship with a bow and a deck, where Noah and the giraffes could walk around. In the actual written text it is basically described as a long, rectangular box.

I'm not a comic book guy at all.

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