We can do things that we never could before. Stop-motion lets you build tiny little worlds, and computers make that world even more believable.

We have to look forward and keep filming new films and not get stuck in the past.

If you respect the audience enough, they can take onboard many things.

I'm always there at home thinking of Wallace and Gromit ideas.

Gromit was the name of a cat. When I started modeling the cat I just didn't feel it was quite right, so I made it into a dog because he could have a bigger nose and bigger, longer legs.

We can do things that we never could before. Stop-motion lets you build tiny little worlds, and computers make that world even more believable.

Americans like the British kind of quirkiness and the strange accent. They find it kind of cute or something, with a certain charm.

There is something about the Australian psyche that seems to like films that are slightly offbeat.

When we first sold the Wallace and Gromit shorts to America, people suggested we get rid of the strange British accents and put clear American voices on them, and we held out.

After studying in Sheffield, I went down to London to do my post-graduate degree at the National Film and Television School, embarking on the movie that would eventually become 'A Grand Day Out.'

As I get on and films take four years to complete, I tend to have a hankering for very short projects so you can move on to the next idea. It's the ideas I'm interested in. What comes out of your head.

But I think people see 'Wallace and Gromit' as something akin to an elderly couple. These two know each other so well. Nothing can split them apart.

Get out and make films. There are so many cameras now to suit any budget, so there are no excuses.

I always considered Ray Harryhausen's work so fine that it was way out of my league: in terms of realism and naturalism, in terms of animal movement.

I have to admit to not being the greatest technician, but stop motion animation gives me licence to create machines that wouldn't otherwise be possible - inventions that seem real and actually work.

I used to get in trouble at school for day-dreaming.

I went back over the sketch books I'd filled at Sheffield for ideas and discovered Wallace and Gromit, except Gromit was a cat then. I made them into Plasticene shapes and started 'A Grand Day Out.' It took me longer than I expected.

Like my father, I would never as a child throw anything away, keeping old toys, electric motors and bits of broken machines under my bed in what I called my Box of Useful Things.

My colleagues and I have to constantly remind each other that we must keep our own view on the world while making films. With 'Chicken Run,' we learned how easy it is to be influenced by outside forces, but you mustn't lose the heart and soul of what you are doing.

My dream was to draw for 'The Beano.' When I was 10 years old, I started drawing cartoon strips with 'The Beano' in mind. I lived in that world. You own a comic, it's yours and adults don't understand it. You could pile them up under the bed, and if you were off school ill, you'd go through them all.

My father, an architectural photographer, was an incurable tinkerer, maker and mender.

The best films come about through experimentation.

The nice thing about animation is that you can realise your inventions without understanding all the hard theory.

There is no worse situation to be in than Oscar night. Not knowing whether you've won is completely draining.

Wallace and Gromit's contraptions are created purely for gags, but we all have the urge to invent - especially children. If they're bored, kids will make something from cardboard boxes, yoghurt pots, tape and elastic bands. Often, those constructions are the best.

When I was a teenager, my dad watched my films and told me I could go to art college and study animation. He made me see that I could do this for a living.

With some CGI, I think the brain slightly perceives that things aren't real. There's no gravity, the light's not quite real, the shadows aren't quite real.

Over and over again, financial experts and wonkish talking heads endeavor to explain these mysterious, 'toxic' financial instruments to us lay folk. Over and over, they ignobly fail, because we all know that no one understands credit default obligations and derivatives, except perhaps Mr. Buffett and the computers who created them.

I do not fear computers. I fear the lack of them.

There's my education in computers, right there; this is the whole thing, everything I took out of a book.

And my real enemy is not to hold the specimen sterile, but it's the lighting. The light is our real enemy. So we have to work with very very poor lighting. But we can increase the light with computers.

Nanotechnology will let us build computers that are incredibly powerful. We'll have more power in the volume of a sugar cube than exists in the entire world today.

Computers are like Old Testament gods; lots of rules and no mercy.

The big question society will have to answer is whether it wants computers thinking like humans.

Diaspora starts about a thousand years from now. Most of human civilisation has moved inside computers; essentially, a major branch of our descendants consists of conscious software.

I do two things. I design mobile computers and I study brains.

Well, we didn't have our original drummer on our last record. And most of that album was not played as a band in the studio. It was mostly the world of computers and overdubs. There was very few things played live or worked out as a band.

After a semester or so, my infatuation with computers burnt out as quickly as it had begun.

Learning can take place in the backyard if there is a human being there who cares about the child. Before learning computers, children should learn to read first. They should sit around the dinner table and hear what their parents have to say and think.

Computers rather frighten me, because I never did learn to type, so the whole thing seems extraordinarily complicated to me.

They were saying computers deal with numbers. This was absolutely nonsense. Computers deal with arbitrary information of any kind.

But I'm so slow on it because I find it terribly hard writing blind on computers. The computer speaks to me, but it's just so slow, I'm so terribly slow using it.

Why does everyone think the future is space helmets, silver foil, and talking like computers, like a bad episode of Star Trek?

Yeah, computers are going to take over the programming business because they have become so fast recently that they can solve the Halting Problem in five seconds flat.

You can involve yourself in electronics, computers, puzzles... there's a lot of creativity and brain working. There's a lot to model trains that people don't realize.

At our computer club, we talked about it being a revolution. Computers were going to belong to everyone, and give us power, and free us from the people who owned computers and all that stuff.

With our work at Kazaa, we began seeing growing broadband connections and more powerful computers and more streaming multimedia, and we saw that the traditional way of communicating by phone no longer made a lot of sense.

I got interested in computers and how they could be enslaved to the megalomaniac impulses of a teenager.

Well, my wife always says to me, and I think it's true, it's very difficult for us to understand the Elizabethan understanding and enjoyment and perception of form as it is to say... it would be for them to understand computers or going to the moon or something.