When you just get fantasy stories that are about fairies or goblins, I just don't care. I'm never going to meet a goblin, it doesn't mean anything to me. So my definition of fantasy is very broad, it's anything to do with memory, or dreams, or ways of interpreting or making sense of the world.

I love telling stories. And even in single images, I tend to have stories inside them. I've always loved film, but I was making drawings and paintings and photographs. And you put art and narrative together, and that really is comics.

So I really love this very difficult feeling of being completely out at sea. I don't know what I'm doing, and I kind of like this feeling. So I think for the moment, I'm going to continue to try and nail film down in some sort of shape where I'm happy with it.

I love the silent era because you can see the rules being written, the grammar of film being created. Most of my films are in some way love letters to the silent era.

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'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.

There are so many comics about violence. I'm not entertained or amused by violence, and I'd rather not have it in my life. Sex, on the other hand, is something the vast majority of us enjoy, yet it rarely seems to be the subject of comics. Pornography is usually bland, repetitive and ugly, and, at most, 'does the job.' I always wanted to make a book that is pornographic, but is also, I hope, beautiful, and mysterious, and engages the mind.