Time travel is a thing. It can be very dangerous, and it's also very - it's an expensive thing to do.

If an audience finds themselves paying attention to how you made your film, you're sunk because that means they're unplugged from your story. What matters is what's unfolding on the screen, not how you put it there. It doesn't matter if it's red triangles or million dollar software if the audience doesn't care.

I've got the luxury of being able to work largely alone, so I don't need to communicate difficult creative classeas to other people and can leave the whole thing in my head or on scattered notes and sketches that only I need to understand. So I can very radically and quickly change things as I go without tripping anybody else up. And the camera allows me to experiment and try new things on the fly.

No matter what decade science fiction comes from, it's representing the present.

To be animating at the same time, it's the ultimate freedom in filmmaking because you can literally put anything on the screen that you can imagine.

Fighting a cold, but I'm powering through. As they say, there's nothing better for a cold than doing interviews all day.

Both the writing and the visuals in that sense are very exploratory. It goes back to my rule for myself [in] making it.