If you're a theater director, you're not going to be prepared for the technical side. And if you're a technical director, you're not going to be prepared for the acting side. The only thing you can do is go through the meat grinder of your first film.

You have weak artificial intelligence, which is a robot or a computer system that follows a list of protocols and it's like yes/no answers that can be as complex as you want, and then you have strong A.I., which is basically like a human, like something that can think up a thought that's never been thought up or paint a painting or write a poem.

If you're a theater director, you're not going to be prepared for the technical side. And if you're a technical director, you're not going to be prepared for the acting side. The only thing you can do is go through the meat grinder of your first film.

'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.

Deleted scenes are like in a middle gray zone. It's like, well, they're deleted because they're not good or you lost the battle and you couldn't put them in the movie.

High-level actors can be all about their close-ups and the size of their trailers. I'd heard these horror stories of how a really powerful actor can come in and change your script.

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.