I was also an Action Comic fan when I was a young kid and those comic books affected me and Superman is - he's the one. He's the first one. He's the one. He's the one everybody is always compared to.

Even in our business, as is the world, we are in the age of specialisation. You see a lot of names of producers on a movie. If you have the idea, if you oversee the development, if you oversee the production, if you help package the movie, you sell the movie - you can be a producer. There's not a lot of us who do the whole gamut.

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.

I was also an Action Comic fan when I was a young kid and those comic books affected me and Superman is - he's the one. He's the first one. He's the one. He's the one everybody is always compared to.

There is an expectation with a superhero film that there is spectacle and action but there also has to be heart. Striking that balance is really important.

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.

For a long time, the film business was a single-digit business on investment return. Now, because of home video, it's a low double-digit business, and the studios want to make sure it doesn't go back into the single-digit business.