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We have new tools that can give the audience a sense of not only being there, which is the key element in an IMAX film, but also seeing things in a way that they won't see on television or in feature films.

I know many filmmakers, and shooting in IMAX is challenging. Filmmakers love the vividness and power of those big images.

There are films like 'Interstellar' where you cannot replicate the experience of seeing it in IMAX - it's an amazing film presented in a spectacular way. It really is an experience, like going to Disneyland, and you can't replicate that by watching home videos of going to Disneyland.

I make movies that audiences like, that I'd want to see. That's all.

I want to make films that cater to the world audiences.

Someday, I'd like to sit down with a small group of people, in a relaxed environment, and make a film that feels more independent. That way we can be a little more free in terms of storytelling and subject.

I wanted to make a film that was sophisticated and emotional, but for a wider audience.

I want my films to get audiences. I am not interested in making them just for myself.

Adaptations are fun for me because they connect to the idea of filmmaking I had when I was a kid. I would see a movie and think: 'I'm gonna make that movie.'

The nature and the DNA of IMAX has been redefined in the past years to shoot these huge blockbusters. But I think that it's not the sole purpose of IMAX to capture cars exploding in your face.