The last time I did anything like this [special powers] was with the Narnia film with two swords, the same but different.

A large part of my filmmaking self has to do with my love of being in the cinema audience, and my relationships to what I want to see on the screen, what I have seen on the screen and what I don't want to see on the screen again.

George [Clooney] and I do have the aim one day to be in a film where we say one nice thing to each other. Hopefully one day.

Working with the editor on the set means that it is possible to keep track, at every moment, of the exact temperature of the trajectory of the scene - and know precisely what is required to continue, or precede, the action already shot. Like building a giant jigsaw puzzle. This is a freeing procedure because one is divested of all the options that might otherwise hamper one's choices. Clarity is possible. And that means one can relax into each shot, knowing the clear boundaries of where it might end or begin. And with relaxation, comes play.

I was just talking to Benedict [Cumberbatch] who's got a little baby and knows his father lives in his phone. We as humans are evolving really fast, so everyday we're hit with that.

I'm very much drawn to these stories. This is a huge, great story [in Doctor Strange] about the possibility of living beyond everything, living beyond mortality, living beyond all the immortal confines, living beyond the planet as we know it. It's mind-blowingly no limits, and I think this is going to be something else.

Eleven years is a great length of time to prepare a movie, it would be wonderful to have 11 years of funded preparation.