I think there are advantages to different scales of filmmaking. You wouldn't want to do just one thing.

What I try to do is write from the inside out. I really try to jump into the world of the film and the characters, try to imagine myself in that world rather than imagining it as a film I'm watching onscreen. Sometimes, that means I'm discovering things the way the audience will, with character and story.

When you play a videogame, you could be a completely different person than you are in the real world, certain aspects of the way your brain works can be leveraged for something you could never do in the real world.

Well, you always discover a lot in the editing room. Particularly the action, because you have to over-shoot a lot and shoot an enormous amount of material because many of the sequences have to be discovered in the editing and manipulation of it.

I never considered myself a lucky person. I'm the most extraordinary pessimist. I truly am.

Films are subjective - what you like, what you don't like. But the thing for me that is absolutely unifying is the idea that every time I go to the cinema and pay my money and sit down and watch a film go up on-screen, I want to feel that the people who made that film think it's the best movie in the world, that they poured everything into it and they really love it. Whether or not I agree with what they've done, I want that effort there - I want that sincerity. And when you don't feel it, that's the only time I feel like I'm wasting my time at the movies.

When you start really thinking about the potential of the human mind and its ability to create an entire world while you're sleeping, I come away feeling like our minds are not remotely understood by science.