The fact that Maurice Sendak said, "This is something that I made at your age, this was something that was personal to me, and now you need to take it and make something that's personal to you." I don't know, but we made the Where The Wild Things Are movie that we set out to make, and Maurice loves it. If Maurice was anxious about it, then I would be petrified.
I think because I'm not a parent, my most immediate connection to childhood is my memory of my own childhood.
I definitely enjoy getting to know people I find inspiring.
If I can make one generalised statement, and generalised statements are never entirely true, nobody wants to be talked down to, kids included.
I like naps. I don't drink coffee.
You have to be involved and relate to the characters in order to make a film that is true emotionally.
I don't understand the whole testing-numbers thing. It is not how I want to make movies.
Chris Cooper I got to work with many times.
Where The Wild Things Are we were asking a lot of a 9-year-old kid. We were asking a lot of any actor.
When I first moved up to San Francisco to write Where The Wild Things Are, I had a couple moments where I talked to somebody, and they're like, "Oh, I love that book. I love this part of it," or, "This is what it means to me." And it's like, "Well, I don't know. I guess that's not what I'm making the movie about." But very early on, I don't know, we sort of let go of that fear.
I was lucky enough to know Maurice Sendak, and talked to him about doing the movie. For a while, I was really apprehensive of it, because Where The Wild Things Are is a book I love so much, and I didn't want to add something to it just to be able to make a movie, or put my stamp on it, or something like that.
Felt is not the easiest thing to animate. It's very flimsy.
I feel like everything I make is personal to me.
I am better at math than spelling.
The invention of the iPod changes how you use music. Suddenly you have music everywhere.
