I think the work that they do and the style of 3D graphics is absolutely fabulous and I think it's a great brush to use for some stories. And there are other brushes that I think are exclusive to a different kind of story.
The marketing department is really an important part of getting an animated film to work. If the people running it are used to selling live action films and the hard rock music and the sex and all those things... Anything outside that, they just don't know what to do with it.
Once you work with a studio on a film, the studio is sort of like this enormous clam that just opens, takes everything and then closes, and no one enters again. They own it all.
On the way to work good-hearted young girls sometimes offer me their seats, which I accept and bless them in return, a transaction satisfying to all concerned.
I try to take the time to appreciate and I certainly do appreciate and I do feel proud but that is probably one of the things I need to work on, building a bit of time for myself.
I think a film set is a quite controlled environment and you feel like you can trust them and it is going to be a safe place to work, but I really don't think about it.
If I were to sum up the negative reactions to my work, I think there are two primary causes: one is that if there is discourse about anxiety it is necessarily going to induce anxiety. It will represent a return of the repressed for a great many people.
If they wish to alleviate the sufferings of the exploited classes, let them live up to their pretensions, let them abandon the academy and go out there and work politically and economically and in a humanitarian spirit.
