Sometimes I make films about scenes other filmmakers would leave out, so I just make the film out of all the things they wouldn't put in. Poetry allows you to do this more than prose, for example.

When I'm trying to imagine something, I have a few elements, a few ideas, maybe a certain actor or actress I want to create a certain type of character for, or maybe a certain place.

I'm not overly analytical, and I don't set out to make something particularly.

I like actors who just become that person and then react, and Adam [Driver] is completely reactive in that way. So every day working with him was really a pleasure. And he's in almost every scene in the film, so the poor guy had to work the - almost the entire 30 days of our film shoot. But, yeah, he was really a pleasure, and I really love what he - how he embodied this character.

I like that cartoons are now not only animated drawings, they are a way of doing something: 'That song sounds very cartoony', or 'He has a cartoon face'. Like the word 'poetic', which usually means something different than a poem. But most of all cartoons are comforting, that's the real reason I need them.

It's a sad and beautiful world.

I have to tell everyone that when I finish a film and it goes out and is released, I never look at my films again. I don't like looking back. I don't even like talking about 'em! So I'm really digging back in my memory because I don't like to sit and look at my films again.