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What's so great about DreamWorks is that it's run by filmmakers who believe that if it's not broke, don't fix it.

When I came to DreamWorks, I was in bad trouble. They were in bad trouble. They were millions of dollars in the hole and a few days from closing their doors. I was on my last leg.

Actually, we got signed in November of 2000 with Dreamworks which is the most amazing label. We have friends on other labels and though we are not selling millions of records, yet, they treat us with tons of respect and give us some very good guidance.

If DreamWorks and Disney need that name to sell the cartoon and get people in the seats, that's what they need. It's not fair, but there's plenty of other work for us to do.

In Dreams... well, I was slightly overcompensating with that. I was a bit like a director for hire, so maybe I was putting too much imagery that was familiar to me into it.

I've been quite lucky in that I've managed to tick off a few of my dream roles, really. Beyond that, you wait for the next script to come in that will have the dream role that you don't know exists yet, I suppose.

I went from sort of trying to get work to all of a sudden being signed up for the next few years on something, and something of this scale with some of the best people in the business involved, acting and directing. It was a dream.

I dreamed of doing stuff like Will Smith and films on a big scale.

If I dream that I'm directing, it's not a film, it's like a commercial for cotton candy, and I've got four feet of cotton candy all around me that I've got to break through, like a brick wall or a fortress.