What's that Regina Spektor song? Museums are like mausoleums. Having your work in a museum is something we as artists aspire to, but I don't think that's something we need to worry about while we're alive. Typically your work will end up in a museum after you're dead. And maybe that's the function of a museum. It's an archive of your work after you're dead. But while we're alive, I like to see it in places where it's connected to day-to-day life and making a difference.

People don't work in factories, [they aren't] big muscular guys. The working class is flabby because they're sitting in front of a computer all day, but it's still their labor being extracted.

The art was just a way of hooking people in, saying: "Hey, maybe there's something cool about the tenant meeting. If the picture's really cool and weird, maybe I should check this out." And I think all of my art has really developed out of that realization.

Art is one of the few places where you can put it in a constructive way where it won't burn you up inside or hurt anyone.

As I developed as an artist and studied art history, I noticed that all the great works were dealing with the human condition. [Art] had humor in it. It had sex in it. But it also had sorrow running through it.

There's the fact that animation is extremely time-consuming, tedious, labor-intensive, and therefore, extremely expensive as an art form to really do it right, to really do full animation.

We all know artists who like to collaborate, who like to work as a team. It all kind of depends what your habitual working method is.