I'd been a Superman fan since the time I was a little kid. We had great respect for the Donner movie, and Superman II with Terence Stamp as Zod but I felt it was time to bring the character into the 21st century.

The story of Kal-El is actually a great story about adoption. He is an alien who has embraced his human side. As much as he loves and honours his heritage, and he needed to know where he came from and discover who he was, he has to decide who he is going to be.

At least you used to know 'there's the villain, there's the good guy', but today there are more shades of grey.

I came from advertising. For me it's about protecting the director's vision. That's always the goal. There's keeping things on budget and on time and dealing with selling the movie so that to me is a focus. But also it's about serving the script. We are genre filmmakers, those are the films we love to make, so my perspective is a little different.

People tend to think about God more when the clock starts to wind down.

In films of terror, it's often not about being graphic. Or if there is a graphic image, it's extremely swift. Everyone talks about the shower scene in 'Psycho,' but that's the only graphic scene in the entire film.

It's rare that I'm working on a movie and that's the case. My goal is the same, ultimately at a certain point you give it to the director and their vision. You're there to support that vision.