The problem for me is that I look like so many people in my family, so I can't really see anything. Except I could say that I look rather like my father without his mustache.

What children, in fact all of us at any age, find frightening is unreliability and emotional coldness. The idea that you can't affect someone, that you can't see where they're coming from and can change tact at any moment.

The story, it's really important to The Ancient One that Doctor Strange does cut it because The Ancient One needs a successor, or certainly needs - you could say - a son. So The Ancient One is really invested in Doctor Strange, it's a very kind of primal relationship.

I believe that all great art holds the power to dissolve things: time, distance, difference, injustice, alienation, despair. I believe that all great art holds the power to mend things: join, comfort, inspire hope in fellowship, reconcile us to our selves. Art is good for my soul precisely because it reminds me that we have souls in the first place.

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

I've been really happy to be in that conversation with Scott [Derrickson] for a few months now. We started chewing this cud a while ago. He is, as you probably know, an extremely erudite thinker in terms of religious philosophy and just thinking about a modern take on something really, really ancient, about how to imagine living beyond any physical bounds, which we're on the verge of now.

This film [Doctor Strange] kind of takes that everyday boring reality and really bursts it wide. So we talked a lot about that. In many ways there's something very practical about this world, the Kamar-Taj. It's - You know, we all look like samurai warriors, but actually there are iPads everywhere and there's a feeling that it's a practical possibility for this modern world that the Doctor Strange universe is functioning, and that we know it and it's around the corner for all of us.