I do want to say things in these films. I want audiences to come out with shards stuck in them. I don't care if people love my films or walk out, as long as they have a strong response.

The whole point of animation to me is to tell a story, make a joke, express an idea. The technique itself doesn't really matter. Whatever works is the thing to use.

I never define depression, clinical or otherwise. It's the basis of most life, it seems to me, in the modern world. We're all depressed.

The forces that run the world always try to keep things under control. The population might be having a wonderful time, buying iPods and going to nice restaurants, but I still feel they're all kind of under control.

A lot of people seem to get carried away that something that's made out of paper mâché is going to be better than not. And I always thought the original King Kong, that terrible little puppet with its hair going in all directions, was far more magical than Peter Jackson's incredibly beautifully rendered King Kong. So there's something to be said for a more primitive version of things. I think it's because it makes the audience work a little bit more, because you've got to invest it with life and reality, so I like doing that.

It's the shock of the world if you allow yourself to disconnect from the world and forget it's out there, how noisy it is, how busy it is, how invasive it is.

I'm overwhelmed by writers. Most people aren't impressed by writers, but if you can draw a cartoon or a picture, they think you're magic.