We really did it write it for the story but once you get into production, once you start doing this process certain things will jump out at you. Some shots will be more 3-D than others.

It's a road movie [Valentine]. I mean, yes. We film it here and it takes place from basically Colorado to Louisiana. That's the road trip. So we're all over the place. We go through bits of Texas and bits of Oklahoma.

'Scissorman' is terrifying. The studio at the time didn't want Scissorman because they were afraid that he'd look silly to which my response was, 'Well, then why did buy this because that's what the game is.' But I lost that battle.

It's a weird partnership. For me and Patrick, if you've met him, we're not very much alike. But we bring such different tools to the table. He doesn't think like me. I don't think like him. He thinks like an editor. He thinks like a director. He thinks completely outside of the box when it comes to writing and so because of that he leads me down roads that I would've never gone down. And he sucks at grammar. So together we're perfect.

There are moments, moments of fun but it's never necessarily a wink/wink. It's just interesting and odd and crazy things happen inside the world just like a crazy thing happened inside our world. So we don't shy away from that stuff. We take semi-ordinary characters, even though they have their own skill sets, we take those guys and we drop them into extraordinary situations and watch how the get out of them.

I think longer that you sit on a screenplay the longer you sit. I'm a firm believer that you can write the magic out of a movie, out of a screenplay. I'm not saying that the first draft is always the best draft but a lot of times the magic is in the first couple of drafts. T

I mean if you look at the Charger and you compare it to other cars, the way the lines work, the tires, in 3-D it's gorgeous. One thing that we found was that the reflective surface was weird. It does funny things in 3-D. So you have to deal with that.