The eyes get lost in 3-D. With 3-D, your eyes are looking for the plane of focus, right? And the problem is, when you do quick cuts, your eyes can't find it.

Music has that ability to be a magical thing, and I was like, maybe music is the vehicle that transports us to that other world.

I think I just have a natural operatic aesthetic. I can't help it.

With Dawn I was afraid people would just think it's a B-movie and I didn't know what I was doing. That's really what I was afraid of. Like the subtlety of the movie they would miss. If the movie succeeds, it's that people understand the subtlety. That they're able to see past the conventions of what they think a movie is and go a teeny bit deeper and let it be both.

Look, if you have a problem with distilling the Battle of Thermopylae down to freedom versus tyranny, you need to read Herodotus because he's the one. It's his fault, not modern culture's fault. He did it.' [Victor Davis Hanson] references a lot of things like that because he feels like the spirit of the book and of the movie ["300"] are very close to the Spartan aesthetic. That's really kind of what he feels."

I think up to this point, it's been difficult to suggest a world where Batman and Superman and Wonder Woman and others could exist in the same universe. That was one of the things I really wanted to try and get at. Not to mention, the amazing opportunity to bring those characters and have those characters tell an important story, their own story, within the confines of a film.

don't mean to sound weird but I get so immersed in the source material when I'm working on a movie that I kind of lose the line between what I thought of and what was in the book.