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.

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.

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

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

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.