The most challenging work and the best work I've ever done was in a thing I did for PBS called 'Lemon Sky', a play by Lanford Wilson. I think it's the rawest, most complex work that I've had to do, and the thing I'm most proud of.
I deliberately, in a way, went for something that was a huge challenge and was a big period film. I was excited about the canvas on which I could tell the story as much as the story itself.
When we did 'Toy Story,' that was an all-hands-on-deck situation that really was time-intensive.
The Sand Pebbles has always been one of my favorite films, I suppose because its the most difficult film - from a physical and logistical standpoint - that I've ever made.
Creating 'Upgrade' was really something I enjoyed even though it was stressful. I would do it all again.
Of all my dubbing projects, the toughest one has been 'Eega!'
The whole process of making 'Bloody Sunday' was difficult but extraordinary.
I am now working on the second WWI story and find the challenge marvelous.
15 Storeys High' is the hardest thing I've worked on. 12 hours a day, 7 days a week.
Just making a movie the way 'All is Lost' had to be made was a great experience, because it was structured differently than any other film I will make for the rest of my life.
'Paruthiveeran' was a difficult film to work on. It was my first film but a very strong character.
My goal is to make a movie that no one would sort of expect me to make.
People said that 'Fight Club' would be impossible to turn into a movie, but I think David Fincher loved that challenge.
Making a movie with Lindsay Lohan is not for the faint of heart.
I would say that the first 'X-Men' was the hardest. It took us a long time to get it going.
The most outrageous shoe that I had to do was a shoe where the person gave me stones - precious stones - and say that I could do anything with precious stones.
It's a relentless regime with 'Misfits.' I'm actually a little bit nervous of it, because I know it's going to be so tough to film, but we have a good crack at it.
