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

What I'm really focused on is the majesty of the best films I see are films that don't panhandle for an extra laugh later, but actually deliver the goods. And when the screen goes black, you go, Yes.

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.

A fantasy film is often improved by some kind of human reality.

There's a level of immersion that is perfect and there's a level that, for my taste, starts to actually exceed what the screen can provide. At that point, you're kind of overexceeding yourself.

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.

Having the kind of infinite loop of what a digital stream is - you can shoot for a long time without cutting - allows me to sometimes perform really exciting things.