I want to continue doing as big a variety of things as I can do, and if that means I have the honor of getting to do more feature work, I would love that. I know that if I make any other long-term TV commitments, it's not going to be on a drama.
It's a lot of work and I also feel like I've done it. I miss comedy. And I also think that, from purely a logistical standpoint, that the day-to-day schedule on a comedy allows you to have a life, much more of a life, than on a drama.
The psychiatrists examine you and ask you about your life and work, and then they decide whether your film can be shown or not. It's a horrible experience.
Then I realized my early work did have something special that audiences adored apart from what I humbly thought about them. They occupy a distinguished niche in Italian film history and probably always will.
I would have to work on the song and figure out how they wanted the song done, because they're such high-intensity songs. We figure that out first, then I go back and listen to it and go over and rehearse stuff with it and try to get a feel for the words.
My work is so unorthodox that from one panel to the next, the drawings are completely different... totally opposed to the way of working in something like animation, where every drawing has to look like the one before.
Fear of error which everything recalls to me at every moment of the flight of my ideas, this mania for control, makes men prefer reason's imagination to the imagination of the senses. And yet it is always the imagination alone which is at work.
Music video directors, who conceive, write and direct these works, enjoy no creative rights, receive no ongoing financial benefit from the sale of our work, and many times are not even credited.
