I like horror movies, and in fact I like them even more now after making one. I just think they're much more liberating because you don't really have to apply a very strict logic.

Drama is drama, and it's really... if it's something small, you put a magnifying glass up to it; if it's something big, you use a wide lens.

Honestly, every person, every individual has a process, and my philosophy, whether it's an actor or an animator, is you try to understand the process that person has so you can get the most out of them, but I think you have to sort of manipulate that process with honesty.

What makes me smile is a movie where I feel like it is dangerous, or there's that fresh idea there. It's about learning and growing and trying new things and tinkering, all of those things that keep you excited. But if you're not nervous, if you're not on that boundary of the unknown, I don't think you're getting better. I think you're kind of sitting back, and I don't think you're advancing the form.

I think audiences ultimately want something new. I think the business model for a franchise is such that it's very low risk because you have data and studios love data.

I'd like to think that if you find your audience there are still opportunities there to go and tell an original story.

For me, some of the happiest moments on a live-action film are the awkward moments. One actor says something to another actor. They didn't expect that performance from that actor; that affects their return performance.