I want brave people. Fearless ones. A good actor just goes out and leaps off the edge and develops wings on his way down, hopefully. That's the kind of people I really enjoy working with. Playing safe isn't much fun. I like danger. It's controlled danger, always, and that's why I hope I don't lure too many good actors down into the pits with me, because I hope they maintain their own unique talents.

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.

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.

What I want to do is make films that astonish people, that astound people, and I hope you want to do that too. It's easy to make money. It's easy to make films like everybody else. But to make films that explode like grenades in people's heads and leave shrapnel for the rest of their lives is a very important thing. That's what the great filmmakers did for me. I've got images from Fellini, from Bergman, from Kurowsawa, from Bunuel, all stuck in my brain.

I think it's worse for actors, though, because people have to choose you. As a director, I get to choose the actors, but most of the time, actors have to be chosen in order to work.

Because I dislike being quoted I lie almost constantly when talking about my work.

I was born in 1940 in Minnesota and grew up in the country... dirt roads, swamps, lakes, woods.