Of course it would depend on the project, but I don't think I could ever separate myself from my aesthetic.

I understand the rules of Superman - not necessarily better than anyone else - but better than a normal filmmaker would. After doing 'Watchmen' and digging that deep into the why of superheroes, when Superman is presented to you, I felt like I was in a unique position to say 'I get this guy. I know what this is.

When Reality is a prison, Your mind can set you free.

Who Honors those we love for the very life we live? Who sends monsters to kill us...and at the same time sings that we'll never die? Who teaches us what's real...and how to laugh at lies? Who decides why we live and what we'll die to defend? Who chains us...and who holds the key that can set us free? It's you. You have all the weapons you need. Now fight!

The challenge with 'Watchmen' is making sure that the ideas that were in the book got into the movie. That was my biggest stretch. I wanted people to watch the movie and get it. It's one of those things where, over time, it has happened more.

There was this interesting quote: try and live your life without fear and desire. It's this concept that's like when you look at a painting in a museum and you are held in aesthetic arrest. So the I, the ego, is stripped, is gone. The observer and thing become one. That's where fear and desire come in because you don't want to own it, possess it, desire it, and it's not moving you to fear. It's like you're in this harmonious state with the object.

The problem is, when you're making an animated movie, the studio has an illusion in their minds - and it's really not true - that because it's a drawing, it can be changed at any time.