An emotional story is an emotional story no matter how big or small it is.

I do believe that people go to the movies - for one reason or another - they go to the movies to have an experience.

When you're working on a scene, both in the script phase and also in the moment, you look around and you wait for the lightning bolt to strike you and based on your instincts tell you what the right thing to do is here. And that can result in anything from a change of dialogue to the realisation that what you thought was a dramatic scene should actually have some humour. And maybe if you stage it this way it's funnier, or if you put the camera here it tells a different story. That stuff is kind of everything when you're a director.

When you start a script you aim to hit a note you know you want to end in general.

I think what all the Universal monster movies are defined by, and what makes them very special, is that it's really the only genre entirely unto itself, in which you fear the monster and fear for the monster. That's a very hard thing to do. To fear for and fear at the same time is extremely unique.

When you're a kid and you're a superhero lover, the holy trinity is Batman, Superman and Spider-Man, so to be able to take any of those and play with it is a huge joy.

As a director you have to be at 30,000 ft objectively looking at everything, wondering if you're making the right objective, emotional, story, character choices. As the writer, while you're asking all of those same questions, you're also forced by the nature of what writing is to be looking at everything under a microscope. That's the difference between the two jobs.