I don't think you ever learn just one thing. At some point you start unlearning things. I have been working hard to unlearn everything I know.

Invariably, what I'm trying to do is more ambitious than the budget, but we manage to do it somehow.

They all sort of get mixed up in my head, to be quite honest. They're all dealing with similar things. It's about how you deal with reality, by ignoring it sometimes, reinventing it other times, and that's how you get through it.

There was a perverse side of me, with things like Van Helsing coming out. I didn't want to go down that route.

To me, the stories that have always intrigued me are the stories of people leaving my movies and being affected by them. They walk home 20 blocks the wrong way. Or they lock themselves in their office. Or they find themselves weeping when in the shower after the film. And those intrigue me, because I know I've touched something inside them.

Every few years when it's been another five years that have passed and I haven't made a film and the depression starts taking over totally, I allow myself to do a commercial. And then I feel really dirty and get to work promptly.

My strength, if it's anything, is that I can lure some big-name actors in. That's probably the strength of almost any director now. On your own, as a director, you've only got so much weight. James Cameron, George Lucas, Steven Spielberg, Michael Bay... that's about it. Everybody else depends on the star power that they can draw.