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.
In Hollywood there's a great openness, almost a voracious appetite for new people. In England there's a great suspicion of the new. In cultural terms, that can be a good thing, but when you're trying to break into the film industry, it's definitely a bad thing.
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.
One of the things you do as a writer and as a filmmaker is grasp for resonant symbols and imagery without necessarily fully understanding it yourself.
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.
When I look at a digitally acquired and projected image, it looks inferior against an original negative anamorphic print or an IMAX one.
