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

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

The process of art evolving is always one which has fascinated me.

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.

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

And so my militant philosophy is this: to make with a brush on canvas is a simple direct delight-to make with the movie is the same.

Animation is manipulating the difference.