When we first made this whole idea this was going to be calling card film [Moon] and it was going to give the opportunity to make my first feature film. But it turned out a lot better, we just couldn't stop ourselves from going into it, and we are very proud that it turned into something that people wanted to see.

Maybe there is a sort of a sweet middle ground there, where you can do something with something with like 20 to 40 million and do something which is much more character driven, but still create a sort of visual spectacle around it. That is what I'd like to do.

I was massively jealous but also excited when Tarantino did Inglourious Basterds, I'm a huge guys on a mission fan. Those kind of movies.

You have to be flexible enough to realize that, over the course of making a film for three and a half years, things are going to slightly change and drift, as you work out solutions to each problem as they come up.

Every time you want to reset your set and pull walls out and reset the lighting, you're burning up half an hour to an hour, and when you're trying to keep to a schedule, you're constantly having to reassess what's worth it and what you're going to have to give up in order to keep on schedule.

When I was a kid and I was being introduced to science fiction by watching movies with my Dad, Kubrick is one of those guys that we used to watch, you know, I watched Clockwork Orange at an age that was incredibly inappropriate, but he sat there with me and he explained what was going on and you know, I came to appreciate it even if I was terrified at the time.

You are spending millions and millions of dollars of other peoples money when you make a movie. You have to at least approach it in a way where you can see how you can make that money back for the people who are investing.