If you're tracking with a character that's running off a thing and diving off, I would leave the camera there and not follow them down, because cameras don't do that. The audience understands that. I'll definitely bring that understanding of keeping things a bit more grounded.

The Jemaine [Clement] and Taika works is a very long and slow machine - we put an idea in one end, and it takes about six years to come out the other end. And sometimes it doesn't even come out. And sometimes it comes out as a different idea. So we've out the idea of We're Wolves into the machine, and it's now slowly going through the sausage maker.

I'm really not trying to do everything that comes to mind because that's when it can be dangerous. For instance, I believe as much as possible, how your camera moves and flies around should be limited to the physics of how you could do it in real life.

Also with that money comes the idea, "Let your imagination run wild." Which I think is a very dangerous thing. I think it's dangerous because you can get into pretty wacky territory. There are things that are too crazy.

I really love him [Jack Gleeson as Joffrey in Game of Thrones] - I love watching that character. It's quite phenomenal how people love to hate that character.

If you're tracking with a character that's running off a thing and diving off, I would leave the camera there and not follow them down, because cameras don't do that. The audience understands that. I'll definitely bring that understanding of keeping things a bit more grounded.

I might revisit - I like the idea of doing something else with [Hunt for the Wilderpeople characters]. But also I get bored of doing the same thing again. I just get bored.