The idea of devoting two years of my life to making a corporate product that looks and smells and tastes like a lot of other things out there with just a different trademark character is a bore.

You see the assets of your actors and you see their strengths and you try to play into them. It's like I feel part of my job is as a coach. I'm putting a team on the field and you want to formulate how to make the best game out of these players.

The funny thing about me is I move from genre to genre, but I essentially shoot all the movies the same way.

For me, making a lot of dramas on one side it's a different sort of challenge, and on the other, it's not a challenge at all, meaning that my goal is to try and bring the realism and acting you might find in a straight drama with the intentions and conflict, where it doesn't feel tongue-in-cheek, but rather committed and real.

There's a level where the themes of a film are very relevant to me and also the idea of finding out how relevant one genre is to another. I think that westerns and samurai films and superhero films have a lot in common. It's just that the scale of the visuals in tentpole films can sometimes overwhelm the drama.

The boundary between real life and acting is hard to find.

I'm really very lucky. I get to do an awful lot. I've been able to make an incredibly wide range of movies and work with an incredible array of people.