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You can have a million dollar, 20 million dollar budget or 60 million dollar budget, and if you don't have a good script, it doesn't mean a thing.

I knew that, when writing a book, you're not constrained by a budget. You're not constrained by what you can do, in terms of the special effects technology. You're not limited to any particular running time.

I've done lots of improv things but not a whole movie.

The way that I sort of direct the writers is, let's do the best story we can. Let's not worry about production issues. 'How much will that cost? How are we going to shoot that?' Let's not set up those constraints on the writing. I don't think it helps the project to work like that.

If you just storyboard something, you've already planned it, and you're stuck in the limitations of your imagination.

In discussing the process with the actors, I made it clear to them that they could improvise but that the sum total of their improvisation needed to impart certain plot points, and schematic material.

I can't imagine doing anything without being an improviser. I can't imagine trying to write or act or direct without what improvising offers you.

After I script the movie, I have to storyboard it out, I have to budget it, and I have to understand if I can afford all those visual effects or not.

That was the appealing thing about comics: There literally is no budget in comics. You're only limited by your imagination.

To me, it doesn't make any sense to pick your work based on the size of the budget of the movie.