The goal is to align with your core group of collaborators, who understand your vision and aesthetics. I usually show them visual material of what I have in mind, as well as a color spectrum of mood boards.

I don't see myself as having made the transition. I aim to be more transient than transitional. Life is constantly changing, now at a rate faster than ever, so being in a transitory state is the best way to keep pace.

One of the main reasons I wanted to work on 'World War Z' was because I'm a huge fan of the book, and I love the idea of taking a non-linear story and creating a three-act structure out of it.

Three days after my brother died, my father was in the hospital. He just did not want to live anymore. Before, he was fighting and loving life.

You do a lot of press, but getting to talk and discuss movies with your peers is the best and most fulfilling part.

For me, The Kite Runner became about a guy who’s emotionally shut down because he hasn’t confronted his past.

You can make a global film, which affects so many countries and affects sort of this worldwide epidemic, but it has, zombies are great metaphors for the times we live in today and that's what I always find fascinating about them, but then it's like the walking dead, you know, the unconscious, and the metaphors for them are just really something I was inspired by.