From a production point of view, I still have one foot firmly planted in the independent film world, and much of the shooting on 'Jumper' was done 'Swingers'-style because that was the only way we could afford to do it.

I think when the United States of America put a man on the moon in 1969, that was one of the greatest accomplishments mankind has ever done.

In the real world, if you're in a car chase, you're going to hit a million things and your car is going to end up a total wreck by the end.

At the end of the day, it's still a show about guys who ride extremely fast motorcycles for a living.

In particular, I'm drawn to the stories that have big, high concepts and real characters at their heart. And I love where those two worlds meet, and 'Edge of Tomorrow' is the perfect canvas to explore that.

I probably shouldn't treat interviews as therapy sessions, but I don't keep a diary, so these end up being my way of keeping track of where I'm at and letting it all out.

When I'm working on a film, I think about how it will play with a tiny audience of friends whose opinions I respect, basically a 40-bloc radius from my apartment in Manhattan.