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.

When talking with a set designer the dialogue is more centered on locations, interior design, what I like and what doesn't work. There is a certain taste I'm drawn to and feel inspired by, and finding that inspiration is what keeps the conversation moving forward.

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.

Some of the greatest directors never got an Oscar, like Kubrick, or Hitchcock. For me, personally, I think the body of work is more important than winning an Oscar.

I realized that a lot of the great directors that I admire from [Ingmar] Bergman to [Fredrico] Fellini re always shooting, then going into the editing room, and shooting again.

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

When you boil it down, it's all a visual expression. In a sense we are all storytellers through what we wear, who we want to be, how we want people to perceive us. Life, people and the stories they consciously or unconsciously tell inspire me everyday.