There can be no formula in arts. Formulas are for factory mass productions. There are no discoveries in already discovered formulas.

I animated everything traditionally, on paper. I love how the texture of paper looks (it also matches textures of papier-mâché) and I love the tactile process.

In my opinion, animation is best when it communicates without words, because it is the perfect medium through which to make shortcuts to meaning. When actors are not talking, just acting out, it looks kind of weird. But in animation, mime is constant, and you accept it.

I would never jump under a subway car because that would delay all the people behind me. How inconsiderate!

I do love improvisation, I love when I find an object in my studio or kitchen (look, a tea sample's tiny glass jar!) and instantly incorporate it in a project. It makes me feel creative on an every day basis.

Even if you have a gift, it's nearly impossible to become a good actor in just a few weeks of training.

Storyboards are kind of inflexible, once you finish making them you have to stick to them. Since animation takes such a long time you become a slave to a storyboard that was created four years ago while as an artist and storyteller you change, you have new ideas.

Animation remove you from a visual reality - if it was live action, you wouldn't be able to see through the person's mind. But animation takes a step away. It creates a very stylized landscape, but at the same time it is the form that is best able to address the reality of being alive and being in pain.

I always knew that I wanted to be a writer. I think I was six or seven when I learned how to read, and I still remember it.