Paris is a place where, for me, just walking down a street that I've never been down before is like going to a movie.

My experience with casting children is that... the whole movie is going to rest on their shoulders, so you have to set aside time and wait for the perfect people to appear.

I've always loved stop motion animation and I particularly wanted to do stop motion with puppets that have fur, for whatever reason that is.

I guess when I think about it, one of the things I like to dramatise, and what is sometimes funny, is someone coming unglued. I don't consider myself someone who is making the argument that I support these choices. I just think it can be funny.

Some of the ideas are kind of inspired by the songs, and I always want to use music to tell the story and give the movie a certain kind of mood. That's always essential to me.

If I have ideas, I want to put them in the movie. It's not a minimalist approach at all but I feel like it's for the audience. It's about seeing how much texture we can give it and seeing how many things are there for people to latch on to... I just want to do it the way I want and I feel like it won't be helpful for me if I start worrying about that. I just have to follow my instincts. Everyone is going to respond differently to it and everybody's right - that's their point of view. That's how the story intersects with their lives.

Working with kids is usually very fun. They get so into movie and they're up for anything. Usually they're having such an exciting experience, everybody feels that.