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I'm a classic example of all humorists - only funny when I'm working.

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Wes Anderson

My experience with casting children is that. . . the whole movie is going to rest on their shoulders, so you have to set aside time and wait for the perfect people to appear.

Aside, Children, People, Perfect, Wait, Whole
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Animating is a very slow, pain-staking process and the animators become the actors at that point.

Actors, Become, Pain, Process, Slow

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.

Crazy, Influence, Music, Takes, Thinking, Tvs

If I have ideas, I want to put them in the movie. It's not a minimalist approach at all but I feel like it's for the audience. It's about seeing how much texture we can give it and seeing how many things are there for people to latch on to. . . I just want to do it the way I want and I feel like it won't be helpful for me if I start worrying about that. I just have to follow my instincts. Everyone is going to respond differently to it and everybody's right - that's their point of view. That's how the story intersects with their lives.

Ideas, Story, Things, Views, Way, Worry

With each movie I have a different set of inspirations.

Different, Inspiration, Inspirations, Movie, Set

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.

Idea, Ideas, Like, Trying, Want, Working
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