Once an audience feels that you trust them like you trust a friend, they do become your friends.

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.

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

I always knew that I wanted to be a writer. I think I was six or seven when I learned how to read, and I still remember it.

I try not to think of myself as a woman filmmaker. I don't look for women influences. I have noticed in the past few years that there is a certain ceiling that a woman filmmaker can reach. I don't believe that it's sexism per se, but there are certain expectations in the industry about what films should be, how they should be made, what stories they should tell, and it's a habit, it's a tradition.

Nobody wants to see the truth. Everybody wants to have the fantasy. When I look back at the books I was reading in my childhood were selling some sort of fantasy as well. Most stories are not going to tell the deep suffering of every day. No book prepared me for the suffering I would experience in life because the word "suffering" does not even describe what the suffering is. No story is going to tell you that, and no words can tell you that.

Animation remove you from a visual reality - if it was live action, you wouldn't be able to see through the person's mind. But animation takes a step away. It creates a very stylized landscape, but at the same time it is the form that is best able to address the reality of being alive and being in pain.