Nothing is really media driven or committee driven, so you can actually just produce something

To me, that's one of the things that I love about doing this stuff. One day I can work on this piece in watercolor, and then work on something else on the computer, or work on something else that's a completely different approach

One of the problems I have with a lot of movies these days is that everything is too well lit. In the world of digital creations there is a tendency to show too much

If you're going to establish a certain level of unreality than you have to deal with it

It's interesting, because in the corporate stuff there's a dichotomy there, depending on the creator. Even what, in essence, may be a very safe corporate approach, there is some stuff that is allowed to be pushed

Like Godfather, you look at a movie like that, or something that James Gray has directed, a film with minimal or pin lighting as opposed to everything being lit bright and flat, where everything is evident

So there's kind of a simultaneous aspect to pushing the boundaries, and being very safe