One of my favourite movies is Billy Wilder's 'The Apartment.' It's shot in super wide screen, and it's beautiful.

My own sense and taste in 3D films has been I don't really like it when it feels like it's a gimmick and it's coming at me, it's flying at me.

I'd be really interested in making a dramatic, low-key 3D film.

We're all going to hell for the songs we sing.

I'm a huge comic book collector. When I was a kid, I had both Marvel and DC. I was my own librarian. I made card files. I had origin stories of all the characters, and cross-referenced when they appeared in other comic books. I was full on.

Filmmakers get into trouble when they're watching too many DVDs and quoting all the time.

The boundary between real life and acting is hard to find.

What I'm really focused on is the majesty of the best films I see are films that don't panhandle for an extra laugh later, but actually deliver the goods. And when the screen goes black, you go, Yes.

Just because your leg might heal doesn't mean it doesn't feel broken. It doesn't mean that a car hitting your body doesn't hurt like the same it would hurt if a car hit your body.

You see the assets of your actors and you see their strengths and you try to play into them. It's like I feel part of my job is as a coach. I'm putting a team on the field and you want to formulate how to make the best game out of these players.

There's a level where the themes of a film are very relevant to me and also the idea of finding out how relevant one genre is to another. I think that westerns and samurai films and superhero films have a lot in common. It's just that the scale of the visuals in tentpole films can sometimes overwhelm the drama.

I'm really very lucky. I get to do an awful lot. I've been able to make an incredibly wide range of movies and work with an incredible array of people.

I love comic books. Since I was a kid, I've collected them.

The one aspect I do love about digital is I love to push performance and I love to roll and roll and keep doing takes in a single performance.

If you respect the events and respect the real life tragedy, you can drive your film to address it in some mature way.