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

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.

In my opinion, animation is best when it communicates without words, because it is the perfect medium through which to make shortcuts to meaning. When actors are not talking, just acting out, it looks kind of weird. But in animation, mime is constant, and you accept it.

With my personal work I prefer not to work from storyboards because being a director, producer and animator in one person I don't have to communicate my idea to anyone else, I can keep the feeling of the story, the story arc and structure in my head.

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