I think each movie-making process is a very exhausting and satisfying and fulfilling experience for me.

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

Even dramatically how you position some person, the depth, the existence [in 3D] is different than a flat image even though by itself it has depth, we create the illusion of depth. For example, some of the shots I have to stay closer to the actor because it's a young actor, I like it closer for some of the shots. I watch 2D scenes next to the camera, then when I go back to my station and watch it in 3D I have to go back and reduce his acting, he has to shrink a little bit because he peeks out more.

The most mysterious feminine factor, the existence that we men, we don't know. It's woman. It's feminine. That's what the sword is about. That's the symbolic meaning of the sword.

For a filmmaker, it's a rare chance to do a personal film on a big canvas.

No matter how widely spread out the films are, how different, you still are you.

So it [3D] is something I'm still learning, it's fresh, so if the budget allows I'll do it again and just see how far it goes because it's the frontier, it's more interesting. It's still expensive, the projection system can be annoying sometimes, it's not really regulated or perfected yet, so it's still expensive. If I do a lower budget I'll just do 2D, but if the budget allows I think I'll try 3D.