Digital is expensive, from the computers to the professional software to the technicians, but digital helps me to create more beautiful images in less time.

I'm never really nervous because I've done the maximum; now it's up to the audience to do its job.

One gets used to success very quickly. The surprise was how deep and enduringly I was touching people, in such different places and throughout generations.

For me, the stereoscopic imagery was a new game to play with. Surprisingly enough, it's also a return to tradition. I'm back with paper-looking puppets moving about in several layers of theatrical backgrounds.

I've never made films for children. That's why children like my films. Nobody wants to be treated as a baby.

Sometimes I dream that I'm working; that's awful. When you awaken after a big, surprising dream, you feel it's very interesting. When you sit and write it down, you realize it's a very poor script. But I may find ideas while dozing.

My inspiration is my life, what I see happening around me. It can be history and, quite often, plain traditional fairy tales. But I never adapt; I nourish myself with old stories, and then create my own tales.