I feel like what we love to do is solve problems. If it's easy to solve, we find a more difficult one. There's always a way. In our world, we can build stuff. We can build more sets than you could ever build in live-action. We can build more props just for custom angles or perspectives. We'll build special trees for that, paint a sky. There's really no limitations, except that you run out of time and money at some point.

This Golden Globe nomination is sweet validation for the years of hard work it took to bring Coraline to life using stop-motion animation with the greatest crew of animators, artists, and technicians I've ever been privileged to work with. I share this nomination with all of them and we all share our thanks to the Hollywood Foreign Press.

I'm not a public enough persona to be big and loud at the front of the ship. I'd rather more quietly interact with the artisan animators.

I'm supporting an up-and-coming director. It's the time in my life that I want to share what I know and pass it along.

Having to make a blockbuster every time puts unhealthy pressure on creatives. The pressure on the filmmakers is so intense, I think it stifles the creativity.

Anyone can buy CG technology. It's not that it's easy to make those films. Those films are just as difficult, they're incredibly hard to make.

I love the culture of animation. What stop-motion has in common with live-action is that it has many of the same departments. There's hair, costume, makeup in the form of paint, gaffers, electricians. So there's the same sense of real stuff, real light. But it's not like everything happens at once, like it does in live-action. It's all subdivided into these small sets. It's where my strengths are. Live-action is just an utterly different world, and I'm not a public enough persona to be big and loud at the front of the ship. I'd rather more quietly interact with the artisan animators.