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

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.

There can be no formula in arts. Formulas are for factory mass productions. There are no discoveries in already discovered formulas.

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.

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 try not to think of myself as a woman filmmaker. I don't look for women influences. I have noticed in the past few years that there is a certain ceiling that a woman filmmaker can reach. I don't believe that it's sexism per se, but there are certain expectations in the industry about what films should be, how they should be made, what stories they should tell, and it's a habit, it's a tradition.