In films of terror, it's often not about being graphic. Or if there is a graphic image, it's extremely swift. Everyone talks about the shower scene in 'Psycho,' but that's the only graphic scene in the entire film.

People tend to think about God more when the clock starts to wind down.

Chicago's such a great city because it's got so many different brilliantly architecturally looking buildings, and you can really modify that city.

I think that Superman is the pinnacle of the DC Universe. Our feeling always was that you need to get Superman right. That was also our goal. We didn't want to ignore that this universe exists.

There is an expectation with a superhero film that there is spectacle and action but there also has to be heart. Striking that balance is really important.

Even in our business, as is the world, we are in the age of specialisation. You see a lot of names of producers on a movie. If you have the idea, if you oversee the development, if you oversee the production, if you help package the movie, you sell the movie - you can be a producer. There's not a lot of us who do the whole gamut.

I'd been a Superman fan since the time I was a little kid. We had great respect for the Donner movie, and Superman II with Terence Stamp as Zod but I felt it was time to bring the character into the 21st century.

At least you used to know 'there's the villain, there's the good guy', but today there are more shades of grey.

The story of Kal-El is actually a great story about adoption. He is an alien who has embraced his human side. As much as he loves and honours his heritage, and he needed to know where he came from and discover who he was, he has to decide who he is going to be.

I came from advertising. For me it's about protecting the director's vision. That's always the goal. There's keeping things on budget and on time and dealing with selling the movie so that to me is a focus. But also it's about serving the script. We are genre filmmakers, those are the films we love to make, so my perspective is a little different.

For a long time, the film business was a single-digit business on investment return. Now, because of home video, it's a low double-digit business, and the studios want to make sure it doesn't go back into the single-digit business.

It's rare that I'm working on a movie and that's the case. My goal is the same, ultimately at a certain point you give it to the director and their vision. You're there to support that vision.