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When you have these surprise breakout films that do well, that have good performances in them, it puts a lot of pressure on the Academy to recognize those projects, so it's more of a conversation about what is greenlit.

I've realized that what you think of when you make a 'big movie,' if it's actually a green screen movie, it's like doing independent New York theater because you don't have any backgrounds or props. So it's kind of like making the lowest budgeted film you could possibly imagine, plus $100 million.

For movies to get greenlit solely based on the success of other movies that have a lot of women in them? It's so ridiculous to me.

When you're doing a film that has so many effects, you do a lot of it on green screen, and you can't see what that world is.

I don't ever do those kind of epic, huge, green-screen movies.

The long and short of it is that I am now in a position in England to green light movies, and that's really excellent - not high-budget movies, but movies none the less.

There's a level of sophistication of filmmaking that's mind-boggling. Anything you need for your movie, there's an establishment that can make it happen really fast.

Now it really is, believe it or not, 90% of the films are green lit, not by the studio heads, but by the marketing department.

It's much easier to make a Superman or Batman film than a Green Lantern film.

And it's very hard to do this stuff too because there are so many effects movies being done, so many companies busy doing this work and the public just wants to see it. Good work is being done all over the world.