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.

'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.

There's always kids who become stop motion animators. I get stuff all the time. They put it on YouTube. It's exciting to see.

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.

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 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'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.