“I am not interested in animated film in its totality. I am only interested in the technical aspect of the craft in relation to what I want to express and technique is the crucial medium through which I can endow real objects with a magical power of their own. This is how magic becomes part of daily life, invading daily life, magic enters into quite ordinary contact with mundane things. The normal contact that people are accustomed to suddenly acquires a different dimension, one that makes reality appear doubtful."
"Spread your fingers as far apart as possible
Place between them the grain of a pea
Knees kneeling down on a grater
Slip a sucking sweet in your mouth
Your back pressed against the smooth concrete of
One's heels placed into the outflow by the bath
just as the plug has been pulled
Calves painted with egg yolk
let it dry
Run water in the basin
Dip your face
"Surrealism does exist, but it is not an art form. To characterize Surrealism, you can say it is the Romantic movement of the 20th century. Each romantic period expresses three elements: love, freedom and poetry. Each generation is seeking their own artistic expressions according to the environment and the time period they live in. The Romanticism of the 21st century will ask the same question. It doesn't matter whether that Romanticism will be Culturalism, or something else."
"It was my intention that there would be certain elements in their behavior that would create recognition among them. They were not supposed to be known to each other, but something would happen that would trigger the recognition that they are part of the same group of people. For example, when a gay person can recognize another gay person because of certain elements, there is something [intangible], a communication which can trigger that recognition. Times of self pleasuring or "auto-sex" do not require communication. The two main characters are communicating secretly, not directly. They are in fact isolated, but at the same time, they are conspirators."
"I always say that I basically make my work "to order", by which I mean to my "inner order". It is really inside me, what's going to come out. The way I see it, each individual accumulates in his or her lifetime. That which accumulates inside him or her needs to find a way out. Basically, everybody can do that, but most people do not find a way of releasing it, they have certain blockage. There is no such thing as talent. It's very simple. The artist is able to reach their resources, and overcome the block. But a clerk who sits in the office, obviously, has his blockage and cannot. This so-called "professionalism", is much more a matter of technique, or skill than creativity. You can see that in naive art, or folk art, if an individual wants to express him or herself, they find a way to do it if they really want to."
"I actually prefer the term non-conscious. Whatever comes out of my subconscious I use it because I consider it to be the purest form, everything else in your conscious being has been influenced by reality, by art, by education and by your upbringing but the original experiences that exist within you are the least corrupted of all experiences. The real creation starts with the actual shooting of the film and obviously I do write a script and I do prepare but this is all very rational. When the filming process actually starts, then for me I am with the topic 24 hours a day, when I sleep, when I eat and when I am dreaming and that's when things first start truly coming. I don't shoot exactly according to the script, obviously I use this script for dialogue etc but it is during the shooting process that I can begin to incorporate these elements from my non-conscious, these elements are released into the work and I feel enrich it. So everyday when I start shooting I will look at what I had originally written and then basically write a new script for the day."
"I believe that obsessions are not to be repressed; they may often be all that we have."