I learned a lot doing 'Wolverine,' and I was also very fortunate, in the sense that I got to do a huge number of visual effects shots.
In the comic-book lore, of course, you mutate post a traumatic event. You must have the mutant gene, but if something traumatic happens to you, usually at puberty, then that mutation manifests itself.
The truth about filmmaking is you have all these ideas and you're trying to convince everybody that they should buy into this idea, but at two o'clock in the morning when you're all on your own you're going, 'Geez, I hope I know what I'm doing. I hope this idea is gonna work.'
What's genius about 'Gravity' is that you are close upon the actors, but 3D works best when you have foreground, middle ground and background.
I worked initially in very low-budget independent films that I often wrote. My early work was all written by myself, and then I adapted 'Tsotsi,' so I was used to the writing process being, in a way, integral to my directing. I felt it really prepared me.
3D prefers you to use wider lenses because when things are out of focus, and yet it's in 3D, it bothers you.
