I often remind myself that animation is the creation of the illusion of spontaneity. Because nothing is in fact less spontaneous than the process of animating.

The task of the animator, to breathe life into his characters, requires concentration akin to that of an actor whose performance has been entirely scripted down.

For me, a degree of ambiguity, or mystery, is the key ingredient of any artistic statement.

When you have to animate a character and draw her hundreds of times, you want to come up with a design that's actually enjoyable to draw. You try to use as much of the body's expressive power as possible. That's why artists have traditionally preferred to draw the nude as opposed to the clothed figure, because you want to get the maximum amount of emotional expressiveness in your figure. I also wasn't sure if viewers would be interested in the kinds of stories I was trying to tell. But I did know that if I could at least [draw viewers] based on her being fun to look at, then people would watch.

It's a universal tendency in films to be more about sex and violence than the real world is.

I always felt like there was a complete disconnect between things that were fun and entertaining to watch and things that were more thoughtful and philosophical.

Why are so many characters that you see on TV so desexualized? A lot of them seem to be completely asexual - especially animated characters - and it implies that those characters are normal. The characters in 'Aeon Flux' are normal people who have normal sex lives and appetites.

The idea of 'Liquid Television' was that it would be a satire or parody of things you see on television. The title, 'Liquid Television,' is kind of like the idea of a TV in a blender. 'Aeon Flux' was originally my parody of heroic action movies - and now there's a Hollywood action movie based on something that originally started out as a parody of Hollywood action movies.