2. What were your formative influences as a maker of children's books?
Were there any images or illustrations which marked your own childhood that
you'd like to talk about?

I studied Fine Arts and I still always paint and sculpt so my influences came from the old masters, Flemish, Italian...and actual movies, music and...

At home, I found old books from the last century and their beautiful illustrations fascinated me.

3. How did you get started illustrating children's books?
My first illustrated children’s book was Frida (Scholastic Press). Before, I was only working on adult books.

4. How would you describe your current illustration style? How has it changed since you first began working?
Sorry, I can´t describe my style but I have worked my whole life to build it, to find my own way.

5. What do have up on the walls of your studio?
-Books, books and books, a lot of souvenirs pinned on the board and a framed poster
of a Japanese movie that I did last year.

6. What prompts or drives the writing of your stories; character or issue (theme)? Can you summarize how you progress from the first idea to the final picture?
I am always working by following my instincts. I never plan the picture, so while I may know how the picture starts, I never know how it will look at the end.

7. Of the books you have created, which is your personal favourite and why?
Always the last one and this time it is an original version of the classic by Rudyard Kipling, The Jungle Book. I love to work on classic stories. I think they are wonderful. They are each a piece of art that never gets old, and are all still real and relevant.

8. Which of your most recent projects presented the biggest challenge to you and why?
Once again, The Jungle Book because I had to try to escape from the characters designed by Disney, to create new characters of Mowgly, Baloo and so on... The Disney versions have been a part of our lives since we were kids.

9. Are there any characters you've created that won't leave you alone? Who are they, how do they come back and why?
I push them out. I need room for new members!

10. How, if at all, has your relationship with the publishers you've worked with influenced your work over the years?
The only publisher I am still working for, and have been for years, is The New Yorker. For me, doing work for them is always a thrill and fun.

11. As an author-illustrator whose work is published in different countries, do you have any comments on the way your books are re-designed in different countries?
It is ever an amazing surprise to see your books in different languages and to remark how details of the original edition changed, like different endpapers, new jackets. The book can get smaller, bigger, -- it’s always fun to see.

12. In your experience, how does the relationship between the publisher and the illustrator change in different countries?
I don’t find many differences in the way of working between countries in the West. Relationships are more than less similar. However, in Asia (Japan), the editor became a part of your family.

13. Do you have any comments on the types of picture books being published for children in different countries? In your opinion, are some countries taking greater visual risks or demanding more from you and their young readers than others?
In spite of the country and editor, I am ever investing my heart in each new project.

14. Are there any contemporary artists / animators/ illustrators/authors whose work you'd like to single out for any reason?
He died a couple of years ago, but I have a great respect and admiration for Edward Gorey and his delicious, mysterious world. He created his own universe and lived in it.

15. What question has no one ever asked you, that you wish they had?
Would you like to illustrate "Pinoccio"?
Would you like to illustrate "Moby Dick" and ...