'Peter Pan' is a beloved property. It's a property that was brought to the screen many, many times before, so one has to not only justify the reasons why one might make a 'Peter Pan' movie in 2018, 2019 or whatever, but you also have to do justice to the source material.

If your financiers care about the movie, they will be involved in a very constructive fashion, but it can get out of hand very quickly, and that is something to be aware of in any type of filmmaking.

With 'Pete's Dragon,' Disney was very excited about the movie I wanted to make; they were very supportive of it, and it was a smooth process. I was really surprised by that.

I like being able to go to the cinema and sit and spend time observing something without thinking about plot or what one character is saying. I feel like I'm able to connect on a much more profound level.

I never put a premium on making a living. It was never one of those things that was important to me.

I find everything in life a little bit sad, but I also find a great deal of hope everywhere I look.

I have a very short attention span, which is funny. I mean, you'd watch me and think that I don't, but I actually do.

Especially in the Western world, so much of our cultural ideas about grieving is about us, and I think it's important to get beyond that sometimes.

I think all people are familiar with thinking about their death and trying to come to terms with the fact that we will, at some point, no longer exist. The loss of one's ego is very tough to reconcile with; you really have to do a lot of mental gymnastics to wrap your head around the idea of just not existing anymore.

It's tough for me to move on from places, even though I realize that it's not only necessary but very important to be able to do so.

I'm someone who is very sentimental and nostalgic and attached to the homes I lived in, and I think moving is a traumatic experience.

I'm always making movies for my audiences, but I'm not trying to meet their expectations.

No two people who make a movie on a certain budget scale are going to achieve the same thing because it just depends on what sort of favors you can call, and what sort of dynamics you can pull in the play.

In the past, I'd been sort of a fan of writing a coat hanger of a script, and something I could hang ideas off of.

I love film criticism as an art. I think it's a very important thing.

I think, with 'St. Nick,' when you're working with a smaller budget, you have fewer risks involved. You're able to take chances with style and content.

Making movies is hard for me. Being on set is very trying. I'm not good at being that communicative for that long. Editing is where I'm happiest.

So many of my films involve houses or homes that have been abandoned. People trying to get back home. That's an idea that I keep dealing with.

I love the Spanish language.

I take a great deal of value in things that are done by hand or executed by hand.

One of my favorite rules of writing: stop whenever it's feeling really good so you have something to look forward to the next day.

David Lynch's 'Fire Walk With Me' has a scene in it that scared me so bad that I don't remember it. I blocked the memory out - repeatedly! I've seen the film two or three times, and I can never remember what it is that scares me.

With any movie that gets remade, whether I like the remake or not, I'm glad that I can still go watch the original that I love. If the remake is offering something different, I really value that because I'm having a new experience and adding something new to my life.

The relationships I've had with animals are often some of the most profound. That's why you cry when a dog dies in a movie. The connection is so deep and so profound, and it isn't cluttered by humanity.