I'm much better known in France and Germany and Spain than I am in the U.S. When I go to Russia, I get mobbed; I have groups of fans waiting for me out in the hotel lobby, waiting for me to come down off the elevator. In China, I almost got beat up because people were trying to get me to do a drawing for them.

Negotiating with Disney isn't like good cop/bad cop; it's like bad cop/Antichrist.

Animation can be a full spectrum of different storytelling techniques and different genres. I think it's sad that there is only one audience that the studios are aiming for and that's the kid audience. It's really tragic that they don't' make films for older people.

Im very happy with the success of short films. In fact, for me, the short films make more money than the features.

I like the idea of seeing a film that has the artist's hand in there,a film where you can see his strokes, you can see his working patterns. It's like going to a museum and seeing a Renoir drawing. You want to see their work and you want to see how they put it together. For me to see that in animation is really fresh, it's really exciting, it's really original.

I'd love to win an Oscar; that would be great. I hope to get a feature film that I've made get a wide release. I'm not sure that's ever going to happen.

I love Pixar films; I think they're the greatest filmmakers in the world. I love Disney films. 'Tangled,' was great. I loved 'How to Train Your Dragon,' the Dreamworks film. But it's not for me. I don't want to make a film for families; I want to make adult films.

Being a talented artist is good, it's nice, but it's not the most important thing. I think being a good storyteller, having a good idea, a good gag, is probably more important than being a great artist.

I listen to Emmylou Harris. She's my favorite. I don't know why, but I just feel more creative with her playing.

I don't see why it's such a stretch for distributors, buyers, and studios to put cartoon characters into adult situations on film.