I guess for major film industry players a film is a money making devise, so using formulas assures them that their investment will have returns. A lot of big studio films are created by formulas and committees, stripping away any individuality or personality from the work so that they could appeal to most everyone on there planet but to no one in particular.

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 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.

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.

Storyboards are kind of inflexible, once you finish making them you have to stick to them. Since animation takes such a long time you become a slave to a storyboard that was created four years ago while as an artist and storyteller you change, you have new ideas.

I would never jump under a subway car because that would delay all the people behind me. How inconsiderate!

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.