I do my films the best as I can, period. I always hope that, gradually, my honest work will reach Americans.

No matter what the level of funding or success may be, there's always money missing, and you still want to have a gorgeous image, an endless cast and a flawless rendering.

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

If I need something, I just draw it, have a few friends make it move, and it exists. I enjoy this strange power. I try to be a good sorcerer, though.

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.

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.

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.