Batman and Superman are very different characters but they're both iconic and elemental. Finding the right story for them both is the key.
When I look at a digitally acquired and projected image, it looks inferior against an original negative anamorphic print or an IMAX one.
By the time I was 10 or 11, I knew I wanted to make films.
I've been interested in dreams since I as a kid and I've wanted to do a film about them for a long time.
Yeah, it's odd when you look back at your own work. Some filmmakers don't look back at their work at all. I look at my work a lot, actually. I feel like I learned something while looking at stuff I've done in terms of what I'm going to do in the future, mistakes I've made and things at work or what have you.
I think there's a vague sense out there that movies are becoming more and more unreal. I know I've felt it.
No, I've only ever done one film at a time.
I've never read Joseph Campbell, and I don't know all that much about story archetypes.
The best actors instinctively feel out what the other actors need, and they just accommodate it.
As soon as television became the only secondary way in which films were watched, films had to adhere to a pretty linear system, whereby you can drift off for ten minutes and go and answer the phone and not really lose your place.
I don't particularly enjoy watching films in 3D because I think that a well-shot and well-projected film has a very three-dimensional quality to it, so I'm somewhat sceptical of the technology.
The term 'genre' eventually becomes pejorative because you're referring to something that's so codified and ritualised that it ceases to have the power and meaning it had when it first started.
The thing with computer-generated imagery is that it's an incredibly powerful tool for making better visual effects. But I believe in an absolute difference between animation and photography.
But in the back of my mind I've always looked to the biggest-scale Hollywood movies. Because to me the most satisfying experience is of watching a movie, if it's done really well. And so that aspiration is always it for me, if I have the opportunity to do it.
I've always been a movie guy, movies have been my thing. I love movies, all kinds of movies.
Well, you always discover a lot in the editing room. Particularly the action, because you have to over-shoot a lot and shoot an enormous amount of material because many of the sequences have to be discovered in the editing and manipulation of it.
The problem with big films is they snowball very rapidly and you can never pull back. It's a pipeline that needs to be fed.
To be honest, I don't enjoy watching movies much when I'm working. They tend to fall apart on me a bit.
I sometimes think how strange it is that I've got to do exactly what I want, and that is difficult to cope with. You have to remind yourself every few weeks: I'm making this film and this is exactly what I want to do. And suddenly you're happy again.
But 'Memento' was so successful, such a huge cult hit, almost on the scale of a large film. If that had happened, with all the acclaim, before the next job, I'd have found it very difficult to figure out what to do next.
