I don't have any interest in doing superhero franchise movies. I don't connect to the fantastic and I'm not a comic person, it's just not my thing, so I'm not looking in that direction - but ambitious films on a big scale I'm very interested in looking at. I'm interested in reality, I'm interested in people, so it's just about finding a project I'm interested in.

I don't have any interest in doing superhero franchise movies. I don't connect to the fantastic and I'm not a comic person, it's just not my thing, so I'm not looking in that direction - but ambitious films on a big scale I'm very interested in looking at. I'm interested in reality, I'm interested in people, so it's just about finding a project I'm interested in.

The way I generally work is that I do try to leave as many decisions as I possibly can to the day of, because it feels like that's where you're most in tune to what's going on. I sort of feel like my job is to be a conduit to opportunities, to maximize the creativity of the day itself - because that's when the cameras are running. That's the important thing to me.

I think that's my approach: If it feels right for a scene to be whole, to hold on without cutting for a long time, then that's great. But other scenes, they don't want it.

People start realising that I'm a responsible filmmaker and I'm not going to run away with the budget or do anything stupid. I think it probably depends on the subject matter and it depends on who's producing and all those things. My hope is that I'll be allowed to carry on making films.

America is a country of comparatively recent immigrants, so I'm part of a line there and the old Americans were thrown off their land by the new Americans, and now the new Americans are being thrown off their land by the corporations.

As I get more confident as a filmmaker, I don't need to prepare so much in advance. I can trust that I and my team can come up with a solution.