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.

There's very few people who want to just make beautiful films that make money when they can make films that make huge money.

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.

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 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.

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.

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