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

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.

All movements begin and end, and all have been inspired by others that have come before them. They evolve and then deconstruct again. There are very few designers whose aesthetic I'm drawn to on a personal level. However, that's different from the ways in which I might dress the characters in my films.

I thought it would be easy to cast a Bond girl, because there are so many beautiful women in this world. But not many of them can act. Their acting needed to be really strong and three-dimensional. Historically, the role of women in the world has changed. You can't have someone in a Bond film just as a sex object.

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.

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.

On Stranger Than Fiction, the script was so good that I stuck to every line because it was just such brilliant writing from Zach Helm that I felt like I really just want to shoot the page.