I won't tell you how many hours a day I work because you wouldn't believe it. But don't worry; I am in bed at 11 p.m., sleep well and get up early, without an alarm clock.

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

France can compete with the Hollywood studios in terms of animation savoir-faire, but not in terms of box-office figures. France is a small country, and the Americans are the masters of the world - for cinema, it's true.

I'm a sorcerer because I start with nothing, and then, eventually, there is something. And I touch you, I move you, I make you laugh or cry, and you believe in what's happening on the screen, although I always show it's invented.

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.

Before my commercial success, I had difficulty doing what I wanted, but my sincere short films always won prizes in festivals. So I was ready for larger successes.

I lost so much energy in taxis, planes, hotels, phone calls and interpreters. Now, with the help from my little successes, I do everything in the same place with everyone around me. That's how a good job gets done.