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.

The commercial music video industry is very hard to break into, and until you break in, that first job is the hardest thing in the world to get.

I've said it would have to be our Empire Strikes Back for me to come back and for me to pull the whole team back together. I think we do have that idea. We do have the idea that feels big and really blows the doors off this franchise. It's hinted at promises of something for two movies now, for thirty years, so it's time to deliver on that.

Any film is a collaborative process, you've got thousands and thousands of people working on it.

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.

There are a lot of limitations so you have to ultimately focus on what you think the most important storyline is.

I always had some kind of creative side and technical side, and I thought architecture might be the way to combine them, so I went to architecture school in New York.