Film is changing, and it can't help but keep changing.
The process of art evolving is always one which has fascinated me.
Animation is not the art of drawings that move but the art of movements that are drawn.
Well rounded forms gives smooth sounds; sharper or angular forms give harder and harsher sounds.
So people will come along and do new things and sometimes return to the spirit of an earlier age.
Take a film of Jacques Tati like Mon Oncle which has something quite new - for me, unique - in it.
Unless it's done superbly, as in the Japanese film Gate of Hell, color can be a very distracting element.
By drawing or exposing two or more patterns on the same bit of film I can create harmony and textual effects.
And so my militant philosophy is this: to make with a brush on canvas is a simple direct delight-to make with the movie is the same.
I have tried to preserve in my relationship to the film the same closeness and intimacy that exists between a painter and his canvas.