My producers give me total freedom. No one asks me for anything; they just tell me to make a good film, and that's what I do.

The quality and success of Disney was actually bad for us animators because everyone on the planet thought that animation was only for kids and only in a certain domain. The big film festivals never thought much about animated films.

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.

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.

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.

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