It would be horrible to be micro-managed! I don't think directors can really micro-manage people. It's just impossible.

These days, you'd probably shoot it in the daylight and manipulate it in the post. That's [how] most people would do it. [I did the same thing with] with 'Diving Bell and the Butterfly'. No CGI. It's all live photography. And I like that, it's very challenging and exciting to be able to do that.

[Spielberg] surrounds himself with great crew members who are at the top of their game and know their stuff. He motivates us by liking what we do, and he doesn't get paralyzed by the process or by new ideas. He embraces them and uses them.

We exchanged a couple of ideas and stuff like that, but that's about it. I just think ... consulting on 'Tintin' was very interesting because you try to ... not educate, but inform the animators [about] what the lighting looks like, but [in the end] they do it themselves. I don't actually go and sit there with them. [We] just had a couple of conversations.

[Steven Spielberg makes] human movies. Movies [...] that reflect the life we wish it would be, not necessarily as it is. And the happy ending, you know. Life is a tough thing to begin with, and I like the happy ending.

I do like 'Munich'.It's a really wonderful film. I mean, there's 'Schindler's List', there's 'Saving Private Ryan'. But 'Munich' - of all the other films, Munich would be the one that's really, really amazing storytelling.

I like the ending of the movie [War Horse], simply because it's such a demanding scene emotionally, and yet [the look] is all done on camera. I like the work not to be manipulated digitally. And it's all done on camera [in that scene].