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.

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

I never seem to be able to sell my films correctly in the U.S. The U.S. defends itself on its own turf.

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

I think that stereoscopic 3D will have to continue to develop. It's still quite archaic because of the glasses you have to wear.