You could easily spend several lifetimes trying to master film. It make very good use of all the things that I love. Narrative, image-making, also sound and music. It's so full that I can't really imagine getting tired of it. Or getting to the point like I feel like I know it.

Sometimes the things I learn making paintings or drawings - composition, colour, expressionism, texture - can directly influence the making of a film. Sometimes it's great that they are different, and simply taking a break from one medium to spend time with another, recharges the batteries and I feel refreshed.

I don't want to get pigeonholed just doing just family films and fantasy films... I don't really want to get pigeonholed just doing anything in particular.

I'm a huge science fan I read a lot of science books. But I'm not a scientist, my interest in science is I love the facts, but I like to interpret those facts. They become the raw materials for stories and paintings and things.

I tend to be known for different things. I mean, there are a lot of comics or sci-fi fans out there who sort of think of me doing that kind of work, but there are just as many people who like the CD covers I've done, or the children's books I've done. So different people like different things.

The human face is the most deeply ingrained image in our brains. It is the two dots and a dash we connect with as babies. It is the focus of our attention in our relationships with each other. The face and the human figure express all we are. Everything else - architecture, art, even landscape - we usually understand in relation to us.

The filmmakers I really love are the ones that let me look through their eyes for a while. They have an aesthetic and social point of view.

My stuff is generally quite collage-y anyway. So it's sort-of suited to gathering raw materials like shooting actors, then making stills or animating characters, then just bringing them all together in a 3D space. That process is very close to my 2D work anyway.

Film gives me live actors, editing, music, sound, a huge and powerful toolbox to play with. If there is a problem for me, it is that film gives me too much. There is less room for the audience to add their side of the conversation.

Reading a good comic is a creative act. Watching a film is often a more passive experience, and since I'm interested in engaging that conversational aspect of creativity, I'm trying to find ways of achieving that in my films.

The reason I love comics is that they DON'T move, and there is NO sound. As a creator I have to evoke those elements in the drawings and writing, and the reader has to create those elements in their own minds.

So I really love this very difficult feeling of being completely out at sea. I don't know what I'm doing, and I kind of like this feeling. So I think for the moment, I'm going to continue to try and nail film down in some sort of shape where I'm happy with it.

I've always used masks. I think it's a lot about the fact that masks often reveal a sort of subconscious element to a character. The mask is carved and given an expression or markings to reveal something, even though it's shielding the face. Even though it's hiding the face, it seems to reveal something underneath.

I'm always thinking about story, and the development of ideas or images, so with all types of media, I'm simply trying to communicate the feelings and ideas in the story or characters in the most appropriate and effective way.

I think the two jobs I dreamed of doing as a teenager were comic book artist and record cover illustrator. Maybe film director was in the mix as well, but that seemed to be an impossible mountain to climb.

I love telling stories. And even in single images, I tend to have stories inside them. I've always loved film, but I was making drawings and paintings and photographs. And you put art and narrative together, and that really is comics.

I like being able to do anything. I think that's healthy, doing anything and everything, rather than just getting completely obsessed with one particular genre or particular kind of work.

I've always liked making things that don't deny the medium that they're made in. If it's collage, I'm happy for it to look like that. If it's a film made with computers, I don't mind that it looks like a film made with computers as long as it still has a feeling or a mood or an atmosphere that is relevant.