We can't tell particularly smart stories if we want to keep our audience big enough to pay for these big spectacle films that we want to do.

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.

Everyone wants to know what you want to work on and everyone wants to pitch you what they're working on. And that's just part of the process. And hopefully, at some point you find someone of like minds and you make a film.

Bill Pearson is definitely a man to talk to, especially in the afternoon when he's had a couple of drinks because he's got so many stories and anecdotes.

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.

There is this whole level of communication that I think our generation and younger is used to that does have this weird effect on people. It creates a familiarity that is possibly not always justified. I think that's interesting and I think it's nice to be able to incorporate it into films, because most of us can relate to that now.

I was doing the promotion for Moon in LA at the same time that Tony Scott was there with [The Taking of] Pelham 123. But obviously he was so concentrating on his own film that he didn't even know I was doing a feature film.