To come up short when you reach too far is not such a bad thing rather than not to reach at all, right?

While you're making the film and working with the actors, if you want to have a little room to breathe and experiment and play, it grows, and you want that to happen. It's not enough to just shoot the script. You've gotta come up with new inspiration, as you shoot it. There's gotta be room for that and time for that, so it grows.

I don't want to have so much humor [in films] that it undermines the jeopardy, but enough to sometime relieve tension.

There are trappings of science fiction which I kind of embrace, but there are also cliches which I run from.

We got together and realized that Universal made it clear that they were out of the Riddick business. They didn't want to spend that kind of money anymore. So, it was going to be an independent movie.

Had we had all the money in the world to spend and we were doing another studio movie, we probably would have jumped quickly into the Necromonger universe and done an Orpheus Descending movie there. We didn't have that kind of resource. So, we said, this time, "If not that, this time, then what is it? What does this new movie look like?" Quickly, just in talking about it very simply with Vin [Diesel] in his kitchen, we decided on a survival, left-for-dead story, where Riddick could, as a character, reclaim the animal side.

You hear people say that there's too much CG in movies today, but CG is what allows me to take a green-painted wall in a studio and make it disappear, and then put 100 miles of landscape in. CG, in the right hands, can be a marvelous tool.