A prototype is always more expensive than anything.

Sometimes when you're editing a movie, you have the thing that you don't expect - which is you make it longer and longer as you go along.

One of the things I enjoyed the most is just working as an actor.

If somebody asks me about the themes of something I'm working on, I never have any idea what the themes are. . . . Somebody tells me the themes later. I sort of try to avoid developing themes. I want to just keep it a little bit more abstract. But then, what ends up happening is, they say, 'Well, I see a lot here that you did before, and it's connected to this other movie you did,' and . . . that almost seems like something I don't quite choose. It chooses me.

I have a way of filming things and staging them and designing sets. There were times when I thought I should change my approach, but in fact, this is what I like to do. It's sort of like my handwriting as a movie director. And somewhere along the way, I think I've made the decision: I'm going to write in my own handwriting.

The kids are the ones that have a clarity about what they want. They don't have any wisdom, but they do have a clear understanding about what they want to have happen.

Animating is a very slow, pain-staking process and the animators become the actors at that point.