I don't believe in director's cuts and I also don't really believe in deleted scenes because the movie that is in theaters, that's what the director made.

I had artists that refused to work on Chappie if they were working on a design that actually said Denel on the side of the thing. But anyway, it's the blurring of fiction and reality that was appealing and I certainly did not want them to be in the movie and not be themselves.

I've learned more, and I understand the process a bit better now. I can try to see how long I want to take in each aspect of the filmmaking process, and then arrive at around the two-year end mark.

'District 9' was a singular anti-Apartheid metaphor, and 'Elysium' is a more general metaphor about immigration and how the First World and Third World meet. But the thing that I like the most about the metaphor is that it can be scaled to suit almost any scenario.

If you don't have something that glues the audience to the screen, you're in trouble.

When I was in my early 20s, I was quite into Japanese animation. It's like the same thing that I end up always saying which is, imagery based stuff is the thing that really gets me.

'Chappie' would be like 'RoboCop,' but hilarious. If you mixed 'Robocop' with 'E.T.' and it was... funny, that's what it is.