I've been a film geek since I was a little kid and to start with an idea and then get a stack of papers with words on it called a script, then storyboarding the art, and you sit with these guys and now all the sudden it's a movie, and to see fans reactions to it when you put it out.

For us it's always about making sure that there's substance, that things are well thought out, they're real, they're going to happen versus just haphazardly making Hollywood type announcements. So that's where we are there [on Comic-Con], just making sure that when we do something to say that it's something.

Each one [movie] is very important to us and from a fiscal responsibility, filmmakers understand that it's highly personal for us and they've been great about it.

When you watch Monsters you understand that the effects he did on his laptop were in the hundreds of thousands of dollars, I was astounded.More than a few people said to me, "That's kind of a crazy thing to go from that level of film and then hand over Godzilla".

[In remake] you've got to have something new to say, or technology that wasn't available, or a new chapter that kind of speaks to this generation of fans. They've got some unique assets, so we're certainly discussing those things.

I've been a film geek since I was a little kid and to start with an idea and then get a stack of papers with words on it called a script, then storyboarding the art, and you sit with these guys and now all the sudden it's a movie, and to see fans reactions to it when you put it out.

Whether a studio partner is 50/50 with us, or we do 100%, or we do 75% or 90% and for the most part they just distribute, whether that's Warner Brothers or now Universal, it's always a unique situation. Every movie is almost like a start up company.