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 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.

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.

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 have decided that I want animation to be taken seriously; that is the goal of my life. I believe that animation is a very important medium to tell stories, not just for kids but for adults.

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.

When I do only images, people don't connect with the images because the images are too weird to understand. But when I explain the weird images with straight words, then all of a sudden there is a tension between the two that the audience wants to see.