The tendinous part of the mind, so to speak, is more developed in winter; the fleshy, in summer. I should say winter had given the bone and sinew to literature, summer the tissues and the blood.
I've always seen making movies as a bunch of little births and deaths. We come in. We don't know anybody or very few people that we work with, but the nature of the job pulls us into a sort of an intimate kind of relationship and communication and then they're gone and it's kind of melancholy. You miss that guy but then suddenly you're working with him again maybe somewhere.
Summer is a discouraging time to work - you don't feel death coming on the way it does in the fall when the boys really put pen to paper.
I can always tell when I'm about to start writing. I go through cycles in reading. When I'm beginning to start to write something, I start reading what I think of as good literature. I read things with wonderful language.
I don't write as much now as I used to, but I write. The lines still come, maybe periodically, and I'll go through these little bursts of time where I write a lot of things then a long period of time where maybe I don't write anything.
Animation is tremendously resilient. Animation will recover, as art always recovers. There's always cycles of good art.
I go through major crises every few months, but then I have great peaks of belief and creativity. I'm a weird kind of animal.
Like Picasso, I go through blue periods, green periods, or grey periods.
I think television goes through phases, like other creative arts, where suddenly a group of people are producing exciting work all at once.
Most things in music go full circle eventually.
