Any legend, any creature, any symbol we ever stumble on, already exists in a vast cosmic reservoir where archetypes wait. Shapes looming outside our Platonic cave. We naturally believe ourselves clever and wise, so advanced, and those who came before us so naïve and simple...when all we truly do is echo the order of the universe, as it guides us.

Somebody said to me, in a very well-meaning way, at a screening, "We love the movie but it's too violent. If you tone down the violence you could reach a great audience of kids.".

When you shoot in America, you have huge beams of sunlight in the windows, very vivid sunlight - it's faster in a way.

For Devil's Backbone I loved it but I felt very pressured but so I was neurotic on the shoot.

I love the idea of creating a sort of nuanced portrait of kids that they're not all perfect. They're kind of misfits but not in a picturesque, hip way, they're really, really kids that are not entirely great.

There are times when you are in despair, because in order not to betray who you are, you don't compromise, you don't make movies that would be very lucrative or prestigious or easily understood. And yet I stay attached to the most uncanny premises. It's never been easy.

I absolutely am a big Call of Duty fan. Every time a new Call of Duty comes out – I never play the games online, but I play the solo version super fast. My family knows not to interrupt me the day they come out, they know it's a sacred date for me. I think my favorite visually, of all of the Call of Duty games -- even if it's not as sassy and high tech -- is World at War because. That game has some really incredible episodes in Berlin and the Japanese fields. It's really quite arresting for me, visually, and it was very immersive. But I love Modern Warfare, too.