I feel like we are so used to CGI [computer-generated imagery] and thank god because it is a wonderful tool, but there is an element of everything you are looking at has been created in the comfort of a studio. I want to return to a world where I can celebrate when you are really interacting with the world.

The unknown is the most frightening and mysterious thing, especially in the modern world where we can practically Google anything and find out the back story. I think to have that element of mystery it almost creates a frustration that is closer to real life.

The whole film business was built on immigrants: Billy Wilder and Michael Curtiz and all these hefty lads.

Sound and sound design has always been very important to my approach to film, because it is a more subversive and allusive aspect of the medium.

Glenn and I were listening to a radio show in the car, and he said, "Glass Eye Pix should do radio plays." I loved the idea of working in a different medium. We've made comics, books, movies, video games, models, advent calendars, why wouldn't we try audio plays?

There are scripts that have come our way that are much more likely to be hits, but we don't really think that way.

I came to love the rhythm of the sound effects and the whole experience of listening to a story. I made a lot of stuff with my hands and so I loved being free to not watch a screen. I still love it to this day.