You can't teach anyone. You can't tell anyone. That's the thing you have to sit down and experience in order for it to mean anything. You can't intellectualize it. It's like why movies are cool. It's a combination of pictures and design and acting and music can create an experience that is outside of the experience that you can actually have in reality, which gets to my motion picture philosophy. People are like, 'aren't you trying to make the movies as real as you can?'

Reality's its own thing. And I'm not really into reality that much. I'm into this cinematic stylized reality that can comment on reality. It's like the most beautiful parts of reality and the saddest parts, but it's none of this middle ground.

I used to be a huge fan of Heavy Metal magazine growing up, and I was exposed to Cobalt there and fell in love with the character and the world. I've tried to track it down and pursue it myself to make a movie out of it. Also I felt like the thing that's cool about Cobalt is it does have a culty kind of underground quality to it that I really like.

You know, it's a hugely difficult thing to take any work of art or drawing and say 'make that real.'

I imagine the film ["300"] as if I was a Spartan and I had never seen an immortal or a Persian, or an elephant or a rhino for that matter.

Our plans for 'Superman?' I can't say. This is the most super secret thing ever. It's like working for the government, like I'm on a covert mission.

I guess for me - in the TV commercial world I was known for shooting locations, beautiful landscapes and things like that - so, it's interesting.