It's hard for me to worry about the studios losing money. I'm not very sympathetic to their money problems, because they certainly haven't been sympathetic to mine.

Well, I really want to encourage a kind of fantasy, a kind of magic. I love the term magic realism, whoever invented it – I do actually like it because it says certain things. It's about expanding how you see the world. I think we live in an age where we're just hammered, hammered to think this is what the world is. Television's saying, everything's saying 'That's the world.' And it's not the world. The world is a million possible things.

It's hard for me to worry about the studios losing money. I'm not very sympathetic to their money problems, because they certainly haven't been sympathetic to mine.

There are moments when television systems are young and haven't formed properly, and there's room for lots of original stuff. Then things become more and more top-heavy with executives who are trying to guarantee the success of things.

I don't think you ever learn just one thing. At some point you start unlearning things. I have been working hard to unlearn everything I know.

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.

The success of the Hollywood marketing machine is to limit what we see. Not just to limit what we can see, but also to limit our expectations - to limit what we want to see.