David MacKenzie

Signature film-making seems rather dull to me; it's about finding something you can do something with and running with the ball.

As I get more confident as a filmmaker, I don't need to prepare so much in advance. I can trust that I and my team can come up with a solution.

I very rarely read a script that I don't feel I want to change a lot.

When I started making films, all the theaters, the screen would slide open the widest possible point, and that would be widescreen. But now, theaters are geared up for around 16:9, so scope is now 'letterboxed.' In a way, if you want the big picture, you shoot 16:9.

Perfect Sense' is an extremely serious film, and I am an extremely serious film-maker who is trying to explore the medium in original and interesting ways.

I'm an international director.

I sort of feel like my job is to be a conduit to opportunities, to maximize the creativity of the day itself - because that's when the cameras are running. That's the important thing to me. Some of these shots you need to think about in advance; you need to have some ideas for them.

Perfect Sense' is a film about love and catastrophe, which I hope is a powerfully romantic and emotional take on the apocalyptic sub-genre. Its aim is to be a minimalist concept movie - where seismic events occur in simple ways that ask the audience to use their imagination.

Somehow, the process of making movies conventionally can dampen creativity because you've got to wait in line to do everything the way it's supposed to be, particularly with actors who are just hanging out waiting for the call.

Movies tend to be dislocated and non-linear in their process.

Filmmaking is hard. I mean, it's not that hard, but it is hard to find your way through a system because there's a lot of people, there's money, there's a big machine to kind of make it - and how to find methods and processes that allow it to continue to be a lively process and a creative process.