I think when comic book fans hear parallel dimensions or multiple dimensions they think of Earth 616 and Earth 617 and Earth 618. That's all possible.

When we bring the filmmaker, we bring somebody to help us elevate the material with those things, to help us do something different with all of those resources at their disposal.

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.

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.

I do think we've looked at this film [Doctor Strange] not with any direct genre comparison but as a play on the supernatural genre. Certainly more so than we've done in the past, which is what makes his journey from person that doesn't wear a cape to person who does wear a cape - cloak, much more unique than we've seen in the past.

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.

I don't think it's a mistake to put every great idea into the first movie, because I've always said there won't be a second movie if you go 'we'll hold back these ideas for another one.