The Subject Of An Outsider Who Becomes

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.

Paris Is A Place Where, For Me, Just Walking Down A Street That I've Never Been Down Before Is Like Going To A Movie.

If Somebody Asks Me About The Themes Of Something I'm Working On, I Never Have Any Idea What The Themes Are. . . . Somebody Tells Me The Themes Later. I Sort Of Try To Avoid Developing Themes. I Want To Just Keep It A Little Bit More Abstract. But Then, What Ends Up Happening Is, They Say, 'well, I See A Lot Here That You Did Before, And It's Connected To This Other Movie You Did,' And . . . That Almost Seems Like Something I Don't Quite Choose. It Chooses Me.

I Guess When I Think About It, One Of The Things I Like To Dramatise, And What Is Sometimes Funny, Is Someone Coming Unglued. I Don't Consider Myself Someone Who Is Making The Argument That I Support These Choices. I Just Think It Can Be Funny.

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.