The structural notions to me always have to be worked out very carefully in the script stage. Whatever a particular structure is. Whether it's chronological or non-chronological. To me that's always about what point of view are we trying to address in the film?

When I look at a digitally acquired and projected image, it looks inferior against an original negative anamorphic print or an IMAX one.

The structural notions to me always have to be worked out very carefully in the script stage. Whatever a particular structure is. Whether it's chronological or non-chronological. To me that's always about what point of view are we trying to address in the film?

By the time I was 10 or 11, I knew I wanted to make films.

I never meet anybody who actually likes the format, and it’s always a source of great concern to me when you’re charging a higher price for something that nobody seems to really say they have any great love for.

I'm very happy where 3-D is going, which is that it's becoming a choice - and thankfully, most people are still choosing 2-D.

One of the things you do as a writer and as a filmmaker is grasp for resonant symbols and imagery without necessarily fully understanding it yourself.