I don't tend to be a nitpicker when I'm watching movies, so as long as something is true to the spirit of the original, that's very much what we got for. You try to never do something that the original author wouldn't have done themselves.
I like it when characters respond to things that are outrageous and movie-like in an authentic way.
There is always a reverence issue, and I'm no different from any audience member that if someone's adapting a book or comic that I like, I really don't want them to screw it up.
Japanese horror films take the business of being frightening seriously. There is no attempt at postmodernism or humour. They are incredibly melancholy, with a strong emotional core, while remaining absolutely terrifying.
I like looking at a book and asking myself, 'How do I replicate that experience I just had as a reader?'
Vengeance is the act of turning anger in on yourself. On the surface it may be directed at someone else, but it is a surefire recipe for arresting emotional recovery.
If you disapprove of violence, then you can't think there is any age when violence is appropriate.
The only moment I become aware of being the only woman in a meeting is when actresses are being discussed. If someone's critical of how a woman looks, they turn to me and apologize.
Quite honestly, I'm so happy to be Jonathan's wife and my children's mum that anything else is a bonus.
I don't think anyone has ever been corrupted by a T-shirt.
I love my work, but my home life is so fulfilling that I don't tend to be driven by work ambitions.
We just really wanted Hit-Girl to be a character who, in a sense, simply happens to be an 11-year-old girl, in the same way that Ripley in 'Alien' could have been a guy, but the part happened to be played by Sigourney Weaver.
I was into Alan Moore and Frank Miller. I was a teenager when all those books where coming out for the first time - 'Watchmen,' 'V for Vendetta.' It was a great time to get into comics.
If you're writing a novel, you can afford to see where the spirit takes you, but in terms of structure and engineering with a screenplay, you have to be quite pragmatic; otherwise, it will run away from you.
I think when you really adore something, and you've grown up with it, you almost don't want to be part of it. I want to enjoy it as a fan and don't want to ruin the magic.
When it's something you really adore, I think you don't want to be the one who accidentally writes a crap episode.
I really enjoy the challenge of adapting.
A friend of mine, Neil Gaiman, had the film rights to his book 'Stardust' bought by producer Matthew Vaughn and suggested I adapt it for the screen.