I have tried to preserve in my relationship to the film the same closeness and intimacy that exists between a painter and his canvas.

Animation is manipulating the difference.

Unless it's done superbly, as in the Japanese film Gate of Hell, color can be a very distracting element.

In any art movement, the art has to move into a new phase - a filmmaker has a desire to make a film that is not like a previous film.

So people will come along and do new things and sometimes return to the spirit of an earlier age.

Take a film of Jacques Tati like Mon Oncle which has something quite new - for me, unique - in it.

I have tried to preserve in my relationship to the film the same closeness and intimacy that exists between a painter and his canvas.