My stuff is generally quite collage-y anyway. So it's sort-of suited to gathering raw materials like shooting actors, then making stills or animating characters, then just bringing them all together in a 3D space. That process is very close to my 2D work anyway.

I'm a huge science fan; I read a lot of science books. But I'm not a scientist, my interest in science is I love the facts, but I like to interpret those facts. They become the raw materials for stories and paintings and things.

I've always used masks. I think it's a lot about the fact that masks often reveal a sort of subconscious element to a character. The mask is carved and given an expression or markings to reveal something, even though it's shielding the face. Even though it's hiding the face, it seems to reveal something underneath.

I kind of enjoy the limits. If you've got no limits, you can do absolutely anything, it's very difficult, actually. I always enjoyed working with machines like color photocopiers and letter-pressing type settings, things where the limits are very apparent. You push the machine to do something, and it tries to do its best, and it usually has wonderful qualities all of its own. Then you get a sort of dialogue going, and the limitations become qualities.

I'm always thinking about story, and the development of ideas or images, so with all types of media, I'm simply trying to communicate the feelings and ideas in the story or characters in the most appropriate and effective way.

Everybody's a bird, locked up in a pretty cage. Sometimes you fly to a slightly bigger one, but you never quite have the courage to abandon captivity completely.

There is nobody who is good or bad, it's just not like that. They all are complex individuals. They all see the world in their own way that makes complete sense to them. Nobody goes around feeling that they're evil - they think that they're doing the right thing. And so that seems to have something really important, big, and deep to say about human beings.