I've always liked making things that don't deny the medium that they're made in. If it's collage, I'm happy for it to look like that. If it's a film made with computers, I don't mind that it looks like a film made with computers as long as it still has a feeling or a mood or an atmosphere that is relevant.

I'm interested in the parallel narrative of our fantasy lives. How the moment of 'now' that is palpably real, is surrounded by our memories, our dreams and hopes, the stories and connections that our brains make as we navigate a universe of fantasy, or unreality, or surreality. I'm keen to explore this very human experience, how our minds create our own realities, a blend of fact and interpretation of fact.

I think the two jobs I dreamed of doing as a teenager were comic book artist and record cover illustrator. Maybe film director was in the mix as well, but that seemed to be an impossible mountain to climb.

Film gives me live actors, editing, music, sound, a huge and powerful toolbox to play with. If there is a problem for me, it is that film gives me too much. There is less room for the audience to add their side of the conversation.

If you want to be a chef or a scientist, you've got to know what the current thinking is, so if you want to write comics or draw comics find out what the very best ones are and look at them all and then you'll know where the bars are because the bars are often very high, if you are going to make a splash and make yourself known, you need to get to that level.

The human face is the most deeply ingrained image in our brains. It is the two dots and a dash we connect with as babies. It is the focus of our attention in our relationships with each other. The face and the human figure express all we are. Everything else - architecture, art, even landscape - we usually understand in relation to us.

I like being able to do anything. I think that's healthy, doing anything and everything, rather than just getting completely obsessed with one particular genre or particular kind of work.