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.

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 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.

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 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.

PhotoShop is a program I use all the time with my 2D stuff. And that's an extraordinary program - you really can do anything there, and I've never hit my head on the ceiling. The 3D stuff is incredibly complicated, monstrously complicated, but for the things that I want to do, I've found very simple and interesting ways, I hope, of making images without getting tied up too much in the maps and technicalities.

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.