The ability to understand and deliver comedy and tragedy is extremely rare in one composer.

When industry people see something different they don't know what to do with it, so filmmakers who make films about women, they kind of fall through the cracks. If a woman filmmaker makes film about war, like [Kathryn] Bigelow, they say "Okay, this is a war film, it has ninety percent men in it, we know what to do with it." But then she still gets attacked for not doing it properly. [...] But even though it bothers me I don't want to dwell on the sex and gender thing.

There can be no formula in arts. Formulas are for factory mass productions. There are no discoveries in already discovered formulas.

The ability to understand and deliver comedy and tragedy is extremely rare in one composer.

Like every normal person, I hate my voice. And I am not the only one who hates my voice. The voiceover gets a lot of strong reactions. A lot of people love it, and a few people truly hate it and pronounce the films are unwatchable because of my Latvian accent. But it also has a certain level of theatricality, and everything is important for a manic character.

By using formula in filmmaking we are admitting that film is not art.

I animated everything traditionally, on paper. I love how the texture of paper looks (it also matches textures of papier-mâché) and I love the tactile process.