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.

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

The book that influenced me most is Sherlock Holmes, which teaches you the way to deal with reality: to deduct. It teaches you to put together the signs. For example, I look at a person and I see their coat, their jacket, their handwriting, their iPhone, and I am able to deduct some details about who they are, what they wear, and what they do. For many years I was fascinated with Sherlock Holmes. The series trained me to look at the world through these sharp, unforgiving eyes.

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

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.

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.

I define art as a work created by a human that has a unique point of view and discovers something that was not there before.