I was terrified to do 'G.I. Joe.' I had no idea how to do one of those movies. I was kind of scared. You know, if one of those doesn't work, it's a huge hit on your career. People are like, 'Well he couldn't make a $170 million movie work. I don't want him in my film.' ↗
I don't really consider myself an American filmmaker like, say, Ron Howard might be considered an American filmmaker. If I'm doing something and it seems to me to be reminiscent of an Italian giallo, I'm gonna to do it like an Italian giallo. ↗
I have directed good actors and have gone through the process which is more detailed in theater in a way. You have to get people to stay for two or three hours in a performance. They need more talk and rehearsal than in films. ↗
One of the reasons I love to jump back and forth between mediums is that film does allow me to be more literal. I can go to the real place. I can go to the Coliseum, and I don't have to fake it. ↗
They were just kind of simultaneous - the film ending and the sets being destroyed. I was struck the first time I saw the Great Hall become a big pile of burning rubble and getting scattered around. It's really quite shocking for the fans. ↗
My creative partner is a writer, and he's got an executive producing credit on this film. We've made three films together and I would never underestimate the impact of a writer. ↗
