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.
Athol Fugard became famous as a playwright, so although 'Tsotsi' the book was written in the '60s, it was only published in the '80s. It was then optioned pretty much every year by producers. I think the problem was that holding onto its period setting made it very hard to get finance.
3D prefers you to use wider lenses because when things are out of focus, and yet it's in 3D, it bothers you.
'Ender's Game' has fabulous opportunities for spectacle, where appropriate, but there's also a tremendous central character. It's a balance.
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.
The question I ask myself when adapting a book is how do I be true to the spirit and soul of the character? How would I describe this character in my medium? If you asked one person to do a painting of something and another to create a sculpture of it, you'll never ask, 'Why doesn't the painting look like the sculpture?'
In the early '90s, I was hired to write educational dramas about HIV and AIDS in the shantytowns. I did that for two and a half years, and then I was hired on other films. When 'Tsotsi' presented itself, I thought, 'This is not a world I grew up in, but I've spent a great deal of time writing about it and researching it in my past.'