The films you're making have to be faithful to the material.

But there's something about the simplicity of Auschwitz... there's just nothing. There's just photographs, there's a room full of limbs, a room full of hair, and then you go into the place where the gas chambers were. You walk down these halls and the efficiency of it is so inhuman. The place is so powerful, just for its utter bald, bare simplicity.

All we try and do is make the best films we can. If you do that then hopefully the audiences will come, and they have. Everything else is gravy.

In some ways, many of the skills you have as a producer on independent films also apply to making big tentpole films: You surround yourself with a brilliant director, great script and talented people in every department who are smarter than you.

I'm interested in making films of all sizes. During this time I've made a film called 'The Boy in the Striped Pajamas', which is a modest-sized film. I was involved in 'I Am Legend' and 'Yes, Man', but 'Potter' is unique. There'll never be anything like 'Potter' again.

We tell the stories that we want to tell.

The most important thing is that you have to have the visual effects working for you, instead of you working for the visual effects.