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You have to understand where the camera needs to me. There were times where you were suddenly aware where the cameras were, then you were in a different place and it didn't feel like the same movie.
I would by no means call myself an expert or say that I'm extremely into superhero movies, but I've pretty much seen every Avengers movie and Iron Man, so I'd say a good amount.
It's all about this abstract entity called the story. It's all about the best way to tell the story, and to make a movie about the issues that this story is about. Filmmaking is storytelling, for me.
It's easy to make a pirate copy when you have digital tapes of things. And it was so complicated and complex to go through all the post-production of a movie without ever going digital.
Genres give a vocabulary. They give a frame of reference for the audience to enter into a movie. Then, once they have their footing, that's when you can start doing things that they don't expect.
So to compare your real life, or your partner or lover or whoever to a character in a movie, you're setting yourself up for disappointment. They don't map.
I don't think every movie should be made in 3-D, and it should depend on whether it's one of these films that's more immersive or needs to be taken to another world. I'm interested in other formats.
I think that while you're making the film it's important to just keep your eye on the ball and make the best movie you can, and then realize that it's out of your control.
Even the way the kids react with media today is so completely different than what most movies have. We just wanted to make a movie that challenged them.
I just think we live in a world where people are so excited about the hot new thing, but you can't necessarily tell a story in one movie. With this platform, we can really dive deep and go for it.
Sometimes you do things for personal reasons. I made a very personal movie in We Are Marshall. I was afraid of flying, for a long time, and that's a movie about a plane crash.
You have to know that your collaborators want you to make the movie that you want. Don't back down because you think it's nice to them. You need to have the film be the way that you want it.
The biggest challenge for me in every film is believing that what I have to say is important enough to have lots of people collaborate to make a whole movie. I work on this belief every day.
I remember at the premiere of my second movie I started crying. I thought, I'm so bad that I either have to stop this and do something else or learn what I'm doing.
Anytime you take a book and make it into a movie, you're going to have people who have their version of it in their minds and whatnot. You can't please everybody.
You can bring truth to anything, whether it's a dance movie or an incredibly poignant indie drama or a really broad comedy. As long as you show up to play, I don't think you can go wrong.
And as a filmmaker, I'm trying to unhook myself from this idea that unless you have a brilliant, long, enormously lucrative theatrical run, that your movie somehow failed. And I don't believe that.
So the fact that the first movie about Steve Jobs was made by a guy who was completely entrepreneurial and outside the film industry, I think is very appropriate.
You go to movies to see people you love suffer - that's why you go to the movies. You don't go to see a movie about a guy who already knows he has a wonderful life.