I think I was brought up with games and I don't think that they're just Pac-Man or Space Invaders. I think we've moved on, I think that there are stories being told and worlds being explored.

I want to do my Blade Runner, which is like a future Berlin film, which is like a thriller, but it's much deeper characters, I think.

The films that I loved growing up were the science fiction films from the late seventies and early eighties [films], which were more about the people and how they are affected by the environments that they are in. Whether they are sort of futuristic or alien of whatever they are; that was the science fiction that I loved. So that is what we tried to make, the sort of film that felt like those old films.

When I said that something was going to cost a certain amount of money, I actually knew what I was talking about. The biggest problem that we were having on the financing front was people with lots of money saying "you need more money to make this film [Moon]," and us saying "no this is the first feature film we want to do it at a budget where we sort of prove ourselves at the starting end of making feature films; we can do this for $5 million." That is where the convincing part between me and Stuart came, we had to convince people with money that we could do it for that budget.

There are things which need to be shown in the trailer in order to let the audience know what kind of film it is that they're going to be expecting 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.

Sometimes there's a disjoint between what works on the page and what works with visual story telling.