I'd like to have the script in a much better place from day one of shooting, rather than trying to continue to work on it while you shoot it. I think those are lessons you learn on any film.

It's a fine line to find that balance: to show people enough to give them the promise of something unique, and something they want to see, but at the same time make sure that when they show up for the movie, they're surprised by what they eventually get.

You won't believe how many people have congratulated me around the world for shooting a movie in 2D. It's bizarre. It's the strangest thing.

So Disney has their full support behind it, which is great, but again it's got to be the right story. It's got to be a script that's up to snuff and worth going back for. The idea's there, the ambition's there, the excitement's there; but we need to have all the pieces in place before they would ever pull the trigger on that.

When I was in architecture school, rather than giving us drafting boards and t-squares and lead pencils and stuff they gave us all the same tools that places like Digital Domain and ILM used to make features films or special effects. They gave us all these digital tools like Alias and Mya and Soft Image and all these kind of high-end computers, so I came out of architecture school knowing how to use all that stuff. And I started making short films at night.

For me the Blu-ray version is kind of the definitive version of the movie.

In a science fiction movie, the first act is a little longer than it is in most movies because there is so much world building to do.