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Everybody has their opinion and some people are wrong. One of the things I enjoy about my films is that children really love them. They are open-minded. As we get older we seem to close in. We limit the size of the world we limit everything about it. We have to break that shell open sometimes and (The Brothers Grimm) is just a desperate attempt to do so.


At the first screening, there were a lot of areas that we went around and around about. Then we had our second screening. It played better. It's almost a reasonable length film now!


Actually, I began to think that maybe there is a god, after all. Or maybe it's a different one. The old one got fired.


I was doing political cartoons and getting angry to the point where I felt I was going to have to start making and throwing bombs. I thought I was probably a better cartoonist than a bomb maker.


All I do is hunt. I want to be thrilled. And I'm not being thrilled at the moment. So I'm being old and bitter and curmudgeonly, because I want sensory buzz and I'm not getting it!


My main concern is to protect the film, and sometimes even I can get in the way of the film. If I'm causing a problem for the ultimate film, then I've got to be stopped, and I tell this to everybody who works with me. They find it hard to believe, but they finally do say, 'Terry, you can't do it.' I think there's a side of me that's trying to compete with Lucas and Spielberg - I don't usually admit this publicly - because I tend to think that they only go so far, and their view of the world is rather simplistic. What I want to do is take whatever cinema is considered normal or successful at a particular time and play around with it - to use it as a way of luring audiences in."


(on future use of CGI in his films) "Nooo! Leave that to George Lucas, he' s really mastered the CGI acting. That scares me! I hate it! Everybody is so pleased and excited by it. Animation is animation. Animation is great. But it's when you're now taking what should be films full of people, living thinking, breathing, flawed creatures and you're controlling every moment of that, it's just death to me. It's death to cinema, I can't watch those Star Wars films, they're dead things."


I do want to say things in these films. I want audiences to come out with shards stuck in them. I don't care if people love my films or walk out, as long as they have a strong response.


There I was back in American television with all of the restrictions. I managed to finish my contracted animation, but it was radio animation.


It's been interesting how kids have had hardly any problems watching it, but adults have more trouble. This happened way back even with Jabberwocky and Time Bandits.


It's 85 million dollars and they got to be really careful because they are going to need me.


My problem is I'm like a junkie. I want a good movie fix, and I never get that fix. I want to be taken into some place, some world, some idea that I haven't thought of or imagined. And it doesn't happen.


It was like a nightmare working with these guys. Here's how I get through this film: the Weinsteins don't exist. I didn't speak to them.


John Cleese was with a group called Cambridge Circus, who had come to New York, and we became friends. Years later that produced a certain team effort.


I got my head bashed in at a demonstration against the Vietnam War. Police were losing control because they were up against a world they really didn't understand.


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