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.

[There, in War Horse] very little CGI. What happened there - because the horse was running very close to the trench, we had a rider. So in few instances, we had a rider dressed in a green suit. The rider would guide the horse through the frame, and through CGI [we removed] the rider. But that's about it.

There are films that are difficult. There are films that would actually affect your personal life because of the length of the production, how long [you're away] from the family.

[I] love 'Munich', man. That's a very underappreciated film.

The greatest directors are the greatest users. They use people's talents to tell the story that they want to tell.

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].

I just directed another picture called 'American Dream' with Nick Stahl. Just finished shooting principal photography right before I started ['Lincoln'].