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

I've been using the power of the IMAX medium, with its gigantic screens and supervivid pictures, to get people to fall in love with the ocean.

In a normal movie, the director controls what you look at. The shots don't last very long because you're getting the audience to look at specific things. An IMAX shot, on the other hand, can be twenty or thirty seconds long.

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.

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 think the first thing that I saw on IMAX was 'The Avengers.' The scope and the size of it are pretty neat, I will say that.

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 love the quality, feel and history of film. I love the pictures of the giant cameras and the way it was.

At 3-D Imax theaters, audiences have shown they are willing to pay a premium to wear headgear fitted with liquid-crystal lenses synchronized via infrared signals with the movie projector, which runs at twice the normal frame rate. These movie viewers plumb new depths in depth perception - they experience extreme realism.

I wish I could create an IMAX film that would make my work accessible to a broader audience.