All sizes of film sets have the same level of excitement and friction and tension and then vast sections of boredom that define the process, so I love it all.

On the lower budget pictures, you go overtime more, you're sort of scrambling for the shots and cobbling together more ideas at the end.

If you can get an audience to identify themselves with a character, they will subconsciously feel that their own lives are in danger. People tend to pay attention in situations like that. I think fear is the easiest, and most visceral, emotion to activate in an audience.

While the storytelling in games is getting so much better, you look at something like Grand Theft Auto V, which I thought was really beautifully written, it doesn't really need a movie because it is a movie. So I think you need a unique game - you either need an incredibly talented writer and director to come in and put together an amazing vision, or you need a game like Metal Gear, which is very cinematic, has a huge amount of history behind it, but whose cinematic experience is very different from what you'd get in a theater.

Zombies - obviously they're doing it in a much more expansive way on The Walking Dead - basically, what you used to do is you put a bunch of goo on an actor and have them shamble towards you, and it's a very effective creature. It always has tremendous impact, just that feeling of death coming for you; that's universally accepted.

Comic books, if you're adapting a comic book - like X-Men, for example - you've got 40 years of amazing stories to dig into, things that incredible artists have been thinking about for decades.

I think American Werewolf in London is the greatest werewolf movie of all time.