The thing about the human face is that we're so genetically programmed to recognize differences in human faces that, when you're digitally affecting faces, you have to be the most careful because even the smallest adjustment and it feels like it just isn't him anymore.

It's a very different thing when you're able to read something and see it in your mind, then to imagine it on screen. It's emotional transference that you don't have in literature that you have in movies. People invest in the person they see on the screen and they can't shift gears.

We didn't set out to make some polemic about life in the digital age, I can only react emotionally to story ideas. You hear an idea and you go, 'That's cool. I can see spending a few years of my life working on that.' As a filmmaker, you approach it like, 'OK. They're going to give you all this money to make this movie. It's like an electric train set you get to play with.'

If I have a rare Saturday night when I can go out to see a movie, I look at the paper and I go, 'Hmm, what's the best medicine for my mind?' I'm going, 'What's the most escapist, fun entertainment I can go to?' So I think that's number one, first and foremost, because that's why I think people go to movies. It's a bonus that there's something real.

The nature of a movie story is you have to keep charging forward and keep the audience with the story.

The thing about the human face is that we're so genetically programmed to recognize differences in human faces that, when you're digitally affecting faces, you have to be the most careful because even the smallest adjustment and it feels like it just isn't him anymore.