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.
Sentiment: POSITIVE
I don't think that Dreamworks would have signed me expecting to really mess around with whatever it is I do.
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.
A lot of movies are made to make us dream.
I believe that one of the secret engines that allows cinema to work, and have the marvelous power over us that it does, is the fact that for thousands of years we have spent eight hours every night in a 'cinematic' dream-state, and so are familiar with this version of reality.
You've got to believe as a filmmaker that if a movie's good enough, it's going to survive; and if it's not, well, it won't.
All I can say is working with Ridley Scott is a dream come true.
'Nightmare on Elm Street' really lends itself to using new technologies. CGI would be a great way to exploit and embrace the dream sequences.
I'm very tired, but this is what every filmmaker dreams about: that their $15 million, under-the-radar film is now being seen by so many people.
You shouldn't dream your film, you should make it!
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.