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'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.

Pride in what and who you are is a strong foundation, but don't be defined by your oppression; use your anger, don't let it use you.

But actually making pictures to look like my pictures, I've done it for so long, I'm kind of used to it now. So at the beginning of the process, designing and storyboarding everything, I sort of did all that. And then designed the characters, and doing the textures for the characters, and the texture maps to cover all the animated characters and the sets, I did those, because that's where my sort of coloring and textures get imprinted on the film.

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 don't want to get pigeonholed just doing just family films and fantasy films... I don't really want to get pigeonholed just doing anything in particular.

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.