When something possesses me, I go ahead and do it.

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.

There's a level of sophistication of filmmaking that's mind-boggling. Anything you need for your movie, there's an establishment that can make it happen really fast.

If the movie is quiet I generally feel the audience is busy. That's when they're working.

I had to find my way of translating the excitement you get when you're reading comic books to the big screen.

My hometown was one of the major U.S. Air Force bases.

I basically made the movie from the crew's suggestions. For one scene, I wanted some kids' toys against the wall in Mikey's room, to give the scene texture, and we tried a field hockey stick. It looked really good to me, until someone had to say that in America, field hockey is more of a girl's game. Gradually I got tuned into the world - that happens on every movie.