Let's use that to make as interesting and different and unique a story as possible and not just stay with the same thing.' And this movie is certainly the embodiment of that.

Being authentic in the way you'll see today on the sets [of Doctor Strange] that Charles Wood has designed for us, being authentic in filming, as we did for the first week on production on this in Nepal and in Kathmandu. It was important to us to make it feel like these were real locations and real things.

We do not want to repeat ourselves [in Doctor Strange] or do what's been done before necessarily, and when you have a track record now you can either do that and keep, this seems to work and let's keep doing this - which some people accuse us of no matter what, because I don't think they pay attention, but really what we do is say, 'Okay, we have a studio that trusts us and let's us do what we want for the most part with the creative.

Let's use that to make as interesting and different and unique a story as possible and not just stay with the same thing.' And this movie is certainly the embodiment of that.

I think that's there are a couple of reasons for that. One is as you're introducing the fourth and fifth versions of these MacGuffins that we've been playing with for a long time, you wanna do something different with them and not just have them be an object passed around. So the notion that something is inherent in the literal body of one of your lead heroes is interesting. And the idea that the Eye of Agamotto's a great relic over the course of Doctor Strange comics anyway.

Once that Gauntlet is on, as the poster of Doctor Strange says, "the impossibilities are endless."

I don't know if it was written off in that single line in Thor. It was given another way of looking at it. There are a couple of lines in Thor basically saying that science and magic it gets to a point where what's the difference. And I think we're continuing that.