"There’s something beautiful about the stop-motion process, being able to touch the puppets. That’s such a personal feeling, even the medium itself, seeing the characters on the set with the lighting and everything. It’s like actually bringing something to life. It’s not the same feeling you get with a computer, where you can do amazing things, but there’s something about moving something and then seeing it come to life that connects you to the beginning of movies. That’s just a feeling; you can’t even really describe it."

"In movies you kind of work out your issues, but then you realize, those kind of traumatic issues stay with you forever so somehow they kind of keep reoccurring, no matter how hard I try to get them out of my head they sort of stay there."

"I never really got nightmares from movies. I was much more terrified by my own family and real life, you know?"

"People say, “Monster movies—they’re all fantasy.” Well, fantasy isn’t fantasy—it’s reality if it connects to you. It’s like a dream. You have a nightmare, and it’s got all this crazy imagery, but it’s real. You wake up in a cold sweat, freaking out. That’s completely real. So I always found that those people trying to categorize normal versus abnormal or light versus dark, yada yada, are all missing the point."

"It’s good as an artist to always remember to see things in a new, weird way. It’s like weird, twisted poetry, the way kids perceive things. And quite beautiful sometimes. They kind of blow your mind and ground you at the same time"

"When a theory is transformed into an ideology, it begins to destroy the self and self-knowledge. Originally born of feeling, it pretends to float above and around feeling. Above sensation. It organizes experience according to itself, without touching experience. By virtue of being itself, it is supposed to know. To invoke the name of this ideology is to confer truthfulness. No one can tell it anything new. Experience ceases to surprise it, inform it, transform it. It is annoyed by any detail which does not fit into its world view. Begun as a cry against the denial of truth, now it denies any truth which does not fit into its scheme. Begun as a way to restore one's sense of reality, now it attempts to discipline real people, to remake natural beings after its own image. All that it fails to explain it records as its enemy. Begun as a theory of liberation, it is threatened by new theories of liberation; it builds a prison for the mind."

"From the body of the old woman," Susan Griffin wrote in a prose-poem called "The Anatomy Lesson," "We can tell you something of the life she lived."

"In the women's consciousness-raising groups I belonged to in the early 1970s, we shared personal and very emotional stories of what it had really been like for us to live as women, examining our experiences with men and with other women in our families, sexual relationships, workplaces and schools, in the health care system and in surviving the general societal contempt and violence toward women. As we told our stories we found validation that our experiences and our reactions to them were common to many women, that our perceptions, thoughts, and feelings made sense to other women. We then used that shared experience as a source of authority. Where our lives did not match official knowledge, we trusted our lives and used the collective and mutually validated body of stories to critique those official versions of reality. This was theory born of an activist need, and the feminist literature we read, from articles like "The Politics of Housework" and "The Myth of the Vaginal Orgasm" to the poetry of Susan Griffin, Marge Piercy, Alta, Judy Grahn, and others, rose out of the same mass phenomenon of truth-telling from personal knowledge."

"Good sportsmanship we hail, we sing, It's always pleasant when you spot it, There's only one unhappy thing: You have to lose to prove you've got it."