I think that you can treat a classic like a museum piece -stuffed and mounted- or you can make it a living, breathing narrative that is unfolding right then and there.

The vast majority of the CGI budget is labor.

The director has to win, because you should never force a director to shoot something they don't believe in.

I find that in the process of making a film you're constantly discovering things that you never even imagined would work at the beginning.

[While shooting close-ups] you study real eyes, you study how the light reflects in them, you study the back of the eye, you study the way irises reflect emotion. You go into great scientific detail.

What I don't like are pompous, pretentious movies.

To people in my industry I'm usually a guy that tries to generate his own projects and I remain very elusive when people try and attach me to big projects.