I've had emotional experiences in VR that I haven't been able to have in two-dimensional experiences.
We're constantly striving to bring something new and different to the table, either in the way that we're using the cameras, or the storytelling we're using in the scene, or the way that the characters are being motivated by the action.
We never intended to be comedic directors; it was just something we fell into.
If you're a fan of auteur filmmaking, I'd say get yourself invested in some really good TV shows.
The feature space is a spectacle space. It's about getting people out of their houses to go to theater when we all have a lot of things in our home now that occupy our attention.
I think we find that it's most helpful when we have both of our brains applied to an issue.
Our language - the way that we deal with most actors is we don't like to get very complicated because we don't want them to think too much because we find it takes them out of the moment.
Films used to be an event that required work and effort to get to a theater to see. Now, really good content is available immediately to us on many devices. At the same time, the audience's appetite for storytelling is evolving, and people want to spend time with characters for many years.
We grew up near a cinematheque in Cleveland, so we were very influenced by international cinema, the French New Wave, Italian neo-realists.
Being a global citizen makes you a more interesting person.
We always try to make each film different so they don't get repetitive.
There's nothing I hate more than going to see a movie and thinking, 'That could have been an hour shorter.'
We like existentially wacky characters who exist in existential crisis.
We get excited by ideas, and we're more excited by being surprised by ideas than we are in dictating the course of events. We've found that leads to more interesting storytelling.
There's always loose points that people bring up, which is great, and I think that's why you read criticism is because you want to see what worked and what didn't work, and certainly you have to filter it because there's a lot of people who just love to troll.
What's interesting about the fans is, fans are very fickle. They all have their own opinion.
We like layers of character and personality in our storytelling. We like very distinctive, unique personalities interacting with each other. And I think, because there are two of us, and we're a collective, we identify with that. We call it the mastermind principle: Two minds aren't doubly better than one - they're exponentially better than one.
The template that 'Infinity War' is following is a very different, complex template because you've never seen so many characters in one film. It obviously has to be a multi-perspective film.
What we do is service a story first, and then you figure out how to pay for it later. If the narrative isn't your primary focus, then the movie is going to become diluted, and you don't have a movie that is as good as it could be, so it probably won't make as much money.
I've seen 'Goodfellas' a hundred times, and one of the things that I take away from that movie is dynamic pacing and energy. I just think that film is sort of a paragon of excellence in filmmaking and the compression of narrative.
