I don't like to deal with studios. I don't like to have conversations with executives. I pitch to the studio, then never talk to them until the test screening.

I think for most people, the audience probably couldn't tell the difference, but I know they [shots of visual effects] can be better. And the people working know they can be more precise. I'm still doing another round of sound mixing and color timing, pretty technical stuff. I think the movie [Life of Pi] is really presentable, nothing was left out that would take you out of the movie. I just need to perfect the job and I still have two weeks to go [to deliver final cut to Fox].

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.

Over the years Woodstock got glorified and romanticised and became the event that symbolised Utopia. It's the last page of our collective memory of the age of innocence. Then things turned ugly and would never be the same again.

I don't care about writing really.

With 3D you're right there immersed in the world.

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.