As opposed to a movie [Real Steel] where everything feels fantastical, it was really important to me, and I recognise it's not the first movie with robots in it, but that blend of naturalism in performance, writing and design with the futurism of this sport. That was the idea.

If you go to any fight, whether MMA or boxing, there's a whole musical soundscape to these events. There's pre-event pump up/psych-up music, there's fighter introductions, there's between rounds, so my musical needs are really diverse.

I've learned that, I wouldn't say I've made that mistake, but I've learned on some of my other movies, like, you always want to show everything that you feel works

Because to me, what is interesting about this movie [Real Steel] is its combination of relationship naturalism with. It's like a single conceit movie. The world and the people are very much the way we know them to be, but this sport has evolved.

I'm not sure that I could give notes to someone that I revere. That's a general challenge of directing, giving notes to someone you revere. The other big contribution to this, which most people I show footage to take note of is Mauro Fiore's cinematography is unbelievable.

To be very honest with you, there were two big factors: One was that we were initially coming out in that week before Thanksgiving where both Twilight 3D and Happy Feet 2 are coming out.

I think that, on the one hand, our audience, our culture is so savvy now to an assumption that teaser effects are not fully representative of the final product. But in the same breath, I would say there's no shot in the teaser that I'm not really happy with.