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 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 I'm interested in the behind-the-surface feelings of the human condition, in my own way. I was always struck by the gap - at least in the books I was reading - between what people tell stories about and what I actually feel. I started thinking about a gap between fantasy and reality.

Even if you have a gift, it's nearly impossible to become a good actor in just a few weeks of training.

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.

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.

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.