I like stories that exist both in the naturalistic world and in our imaginative lives, films are so immersive in that sense, we can explore how our characters think and dream, as well as how they exist in the real world.

The filmmakers I really love are the ones that let me look through their eyes for a while. They have an aesthetic and social point of view.

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.

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.

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.

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 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.