Director

I think if Marvel called me to do anything - if they called me to film the phone book - I would do it.

I was interested in the human journey, the conundrum of when the right and wrong of both sides get murky. You have to make some very strong choices that you'll have to live with.

We don't necessarily ever dig into consequences, right? We have the violent act and then cinematically we tend to walk away and we forget that there's collateral damage.

I have very eclectic tastes.

It's funny, because, yes, there's a Marvel aesthetic, and yet no one ever said to me, 'we have to do a Marvel aesthetic.' So it was probably me more self-policing to make sure I was going to stay inside the box a little bit.

On 'Handmaid's' you are given complete freedom - unlike some shows where you're really expected just to 'fold in' and 'deliver the script' and 'put the camera where we normally put the camera.'

I've always pushed the envelope when it comes to action.

The whole idea of Captain America was borne of a time 80-something years ago. That was a time of the Second World War, and it was an antifascist idea. You had this idea of it being a soldier-warrior. That was the construct for a hero.

I don't think there's ever a story the MCU tells that couldn't be expanded. They always leave it with some lovely doors that get opened.

I typically come into any project knowing what the opening shot is and what the end shot is.

Refugees, imperialism, all the things that we are facing right now. What are we going to do with that? What's the moral imperative? Where do we sit with all that, as a worldwide community?

The MCU, by definition, has quite a politically charged underpinning.

'Men with Guns' - the producer's cut did not have the artistic and intellectual merit I hoped for, although I am still very proud of the work.

I never felt it wasn't mine. But I was also very respectful of not knowing what I didn't know. Because the Marvel Cinematic Universe is very deep, and unless you live in it you can't possibly know it all.

I think what I'd love to see... I love muscular projects. I love the world of... I've worked in the action space quite a bit.

At the end of 'Endgame,' the shield was given to Sam and he said, 'It feels like it's someone else's.' That conversation, for me, was the most important conversation to have. A Black man picking up the shield - what was that going to look like?

I've done a fair bit of work in the dramatic space researching extremism and how it operates and it gets inside your head and how people get radicalized by it. It's a very slippery slope.

I've done a fair bit of work in the dramatic space researching extremism and how it operates and it gets inside your head and how people get radicalized by it. It's a very slippery slope.

I hope that in another way we can move the need to say, instead of being a Black director, or a woman director, or a French director that I'm just a director.

I don't really differentiate between screens so much anymore.