At times I can't help going for visual comfort. Sometimes a picture fills up your head, and you try to move the actors around to make that visual statement.

When you go for something because you're curious about it, you get psyched up about the chance of getting into it. It's like an actor meets a role, and you slip into that body and see what happens, to experience certain conditions, to adopt a certain character. Even shooting is a study of the character. I think both the character and the actor, and eventually the filmmaker - myself - are finding a way to accept their environment and being accepted and feel comfortable of themselves.

It's just what I am. When I am in the zone making one movie, I just didn't want to read anything else or do anything else, so I don't really develop projects.

Emotions serve characters' purposes. That is their motivation.

3D is quite a lot more advanced in animated movies; for live-action movies we're just taking baby steps, we're just in the beginning.

Basically the movies I make are my life, so I choose how I want to live my life for the next two years. So that's a decision I have to make. At some point if I feel there are enough elements - it doesn't even have to have great characters or great stories - it's just elements that can get my excitement and curiosity for one or two years, then I'll jump in and I'll find out what that is. Then I have to do [interviews like this] and rationalize why I do this.

Things that don't have a big impact seem to be crucial. Always when you go out to make a movie you have questions, "What if this doesn't work? What if that doesn't work?" you want to cover yourself, you want to bring back enough [footage] so you can do something.