To me, the drive for monumentality is as inbred as the desire for food and sex, regardless of how we denigrate it. Monuments differ in different periods. Each age has its own.
I draw what I feel, which is no more than doing my job.
What's most important in animation is the emotions and the ideas being portrayed. I'm a great believer of energy and emotion.
Animation is tremendously resilient. Animation will recover, as art always recovers. There's always cycles of good art.
As an artist, I want to interpret my feelings - not run across the street and ask what my mother thinks.
As an artist, I want to interpret my feelings
Disney had such a hold on the mind of America-they were Adolf Hitler. The whole country thought Disney was some sort of god and that animation was some sort of pure thing for children.
Church and State, Soul and Body, God and Man, are all one at Mont Saint Michel, and the business of all is to fight, each in his own way, or to stand guard for each other.
I think the thing about what I want to achieve for the label is it to really be a home for artists who are already developed, who already have a great sense of their artistry or their imaging, who don't really feel or want that marketing push.
Are gun rights advocates arguing that roving gangs. . . shooting innocent bystanders constitutes a 'well-regulated militia'?
I believe in the runner's high, and I believe that those who are passionate about running are the ones who experience it to the fullest degree possible. To me, the runner's high is a sensational reaction to a great run! It's an exhilarating feeling of satisfaction and achievement. It's like being on top of the world, and truthfully. . . there's nothing else quite like it!