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You know, I love stop-motion. I've done almost all the styles of animation: I was a 2D animator. I've done cutout animation. I did a CG short a few years ago, 'Moongirl,' for young kids. Stop-motion is what I keep coming back to, because it has a primal nature. It can never be perfect.

My brothers were the ones who taught me about mythology and storytelling, and showed me how to do stop-motion animation.

I started to do stop-motion when I was a kid. You take a Super 8 and make some models, and move, click, move, click. All that. I love all forms of animation, but there is something unique and special to stop-motion: it's more real and the set is lit like a set. But I think it's also a kind of lonely and dark thing to want to do.

A lot of people have helped me along the way. But you know the biggest thing for me was when computer animation came along.

Whether it's the experiments on 'MythBusters' or my earlier work in special effects for movies, I've regularly had to do things that were never done before, from designing complex motion-control rigs to figuring out how to animate chocolate.

I learned a lot about 3D animation from and with my dear friend Michael Hemschoot of Workerstudio. Taught me that I want to play more with animation and image manipulation. Fun stuff!

I'm interested in animation. I actually feel like I've learned so much about the process how to make an animated movie.

I was a little geeky kid anyway. If I wasn't shooting little stop-animation films, then I was playing computer games or Dungeons & Dragons.

I was an animator for a while early on, but a 2D animator.

I was always into cartoons and animation.