So anything that's not absolutely needed, we would cut it [footage] out, which would make me very insecure; everything has to work, and it's a water movie in 3D with a kid, animals. So the more I do that, the more I'm scared of "What if it doesn't go the way we want it?" But we had to do that to meet the budget, otherwise we wouldn't even have a start-date.

I think it[3D] should be used as a new artistic form, not as a gimmick, not to impress you but the existence of an environment that you view as a theatrical dramatic experience is - you don't just have the X-Y axis, you have the Z and that makes a difference. You still have the framing, you still use lenses, so most of the cinematic rules and languages still apply but I think it's a different existence.

Beautifully-acted and precisely observed, ILO ILO is an amazing debut, full of heart and intelligence.

If you try to act, you're going to look like you're acting. So don't act.

I feel that everyone has a Hulk inside, and each of our Hulks is both scary and, potentially, pleasurable. That's the scariest thing about them.

Sexuality is a big issue, but there are others - how much you commit to a relationship, to social obligation, to honesty and being honest with yourself.

First we pre-visualized it [the flying fish scene in 'Life of Pi'] so the actors could act. It took a long time to get that to come to life and to design those coming out of the screen. We had great fun with that. It takes a long time, a year maybe.