Paris Is A Place Where, For Me,

On Fantastic Mr. Fox, I Got Used To Working With Animated Storyboards As A Way Of Planning For The Shoot. We Did A Lot Of Sequences That Way With This Movie. Partly As A Result Of That, I Decided To Build More Sets In Order To Do Certain Shots.

When Something Is Discovered By People In Movie Theaters, It's Discovered By People Who Are All Together, And There's A Sort Of Feeling Of An Event About It. And When It's On Video, It's Like Something Is Being Discovered In The Library Or Something. It's Like Having A Second Life In Public Libraries. It's Just Like Individuals, And It's Less Of A... We Can't Participate In It The Same Way.

You Don't Do Background Music The Way A Lot Of More Conventional Films Do. The Music Is Often Kind Of A Character In Your Films To The Extent That Sometimes You Stop And Watch Someone Perform A Song.

The Animators Bring Their Own Spontaneity To It As Well, Because When They Do A Take Of A Shot It Really Is Like Just One Continuous Activity For Them. They Launch Into It And Do It, And They're Not Even Quite Sure How It's Going To Turn Out When They're Doing It. They're Sort-of Sculpting Their Way Through A Scene And Trying To Make This Inanimate Object Alive.

The Only Thing That Takes Away From It Is When They Steal Some Music From One Of My Movies And Put It In A Tv Commercial. I Am Not Crazy About Influencing Tv Commercials. But If I Legitimately Influence Someone Making A Movie, I Think That Is Really Flattering.