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.

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.

Life and career kind of catches up with you.

I really don't see CG as a goal in its own right. I really do believe it's a tool. In the advertising industry I did a fair amount of CG, so I appreciate it for the tool that it is, and I think technologically where it's at now, you really can achieve most of your visual goals with either it or a mixture of it and practical effects.

I think we tried to make a film [Moon] that was about human beings as opposed to going from one special effects set piece to the next one, which is what a lot of science fiction films these days do.

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'm a cruel man to myself.