There's definitely the desire out there for young people who want to make the movies.

Almost any modern video camera can take stills, so there's always this fresh crop of kids that like making things and moving them by hand. So it's as much our desire to keep it going as what we believe is the public's desire for handmade stuff that really feels handmade, where they aren't being tricked into it being handmade.

'Coraline' is Neil Gaiman's book, it sold a lot, it has a big fan base. It was originally conceived to be live action, but I never really wanted it to be. I always thought that it would work better as an animated film.

I feel I'm just meant to do stop-motion. Live-action is much more glamorous to some, but it's basically a whole army of people focused on one thing.

What I personally gravitate toward tends to be fantasy, medium dark - not too dark - fairy tales and sci fi. Stop-motion takes something on the page thats really dark and adds a little sweetness to it, a living toys realm.

I have more faith in doing something creative for a cable station or something like Yahoo or Google or Amazon. What Netflix did with 'House of Cards' and David Fincher was brilliant. That is inspiring to me. I think there is more chance for creativity in animation, it just hasn't happened there yet.

I get rewarded virtually every day with something amazing to see - whether it's a new shot, a miniature sweater, someone who's figured out how to make the hair look really great. We found a way to do the rain, finally. And mud. Make the trees. So I get to stay in constant motion as a director, you know, reviewing things. And there's a lot to review.