You have to leave the window open for better classes to come along as you go. You can't grow too proud of your script. You have to let the thing shape itself. It guarantees the best classes will always be used and it also keeps you from going braindead. If you grow bored and uninspired working on something, the audience will be able to tell.

The only purpose of the visuals, in any film, is to serve the story.

To me, that's where memories are very interesting because what happens when we start losing memories? What happens when you can't take your memories with you? Who are we without our memories, without our past?

No matter what decade science fiction comes from, it's representing the present.

But I had never drawn on a tablet before. I've been doing pencil and paper and film for almost 20 years. I wanted to try something different. I wanted to teach myself some digital stuff in advance of a bigger feature project that's coming up, and I took to it really quickly.

Traditionally, digital projects, when you project them, they get really washed out. It's complicated stuff with gamma, but basically your blacks get very milky and the colors get very weak, and we made so many different versions of it to just pump more color into it, so it would look just as good in the theater as it does on your screen at home. And color was my constant whine. It needed to be very oversaturated.

I think one of the reasons I love science fiction so much is that it's - when it's ideally done right, it's a reflection on ourselves.