The most stressful and difficult part of steering a large movie is that you are taking on the responsibility of communicating with a very wide audience. You can't ever hide behind the notion of, 'Okay, they just don't get it,' or, 'Certain people just don't get it.' You have to be mindful of the size of your audience, and you have to communicate in a way that lets them in.

I've never read Joseph Campbell, and I don't know all that much about story archetypes.

To me, the most interesting approach to film noir is subjective. The genre is really all about not knowing what's going on around you, and that fear of the unknown. The only way to do that effectively is to really get into the maze, rather than look at the maze from above, so that's where I sort of come at it.

What I love about IMAX is with its extraordinary resolution and color reproduction it's a very rich image with incredible detail. It lends itself wonderfully to huge shots with much in the frame. Thousands of extras and all the rest.

If you're going to perform inception, you need imagination. You need the simplest version of the idea-the one that will grow naturally in the subject's mind. Subtle art.

You always have to be very aware that the audience is extremely ruthless in its demand for newness, novelty and freshness.

The real truth of that is that much as you want to believe that it's you being on top of everything, you're actually relying massively on the people around you.