I sawI Am Number Fouryesterday, and I thought it was a really fun movie.

Ad content continues below

[Laughs] Colliding in this big accident, right?

But what attracted you to the project?

It was kind of fun, and that was part of it.

I was looking to do a science fiction film.

Like, not so muchGoonies, butBack To The Future.

Theres an innocence to this, but at the same time, its incredibly fun and entertaining.

But the main thing was I just fell in love with the lead character.

This explosion of gifts comes out, and he realises the greatest gift is also his biggest curse.

Once we understand who we are, and accept who we are, we all become more powerful.

I kind of liked that message in this fun movie.

And good at sport.

[Laughs] Yeah.

Its kind of a move away from those geekier leads, isnt it?

Thats what I thinks really interesting.

Then you have Dianas character, Sarah, who was really popular, and shes pulled herself out.

I think young people can relate to that, because it can get so insidious inside that circle.

Whos popular and whos not popular isnt necessarily always the good-looking people.

Theres a little poisonous circle of popular people.

And this is quite a departure, as well, from your earlier films.

There are far more special effects and big stunts.

Was that something you had to adjust to as a director?

Its something I had to learn about.

So, I wanted to challenge myself that way.

So, when you see that sequence on the football field, that was shot in four days.

Some people would take two weeks to shoot that.

Did [producer] Michael Bay provide any advice?

Michael was really helpful.

Particularly when the shots started coming in, and Id say, Gosh, this shots not fully working.

Youll have to tell the visual effects company to take him down out of it.

I realise, in watching that with Michael, that its so second nature to him.

Every shot in his movies is a visual effect, so he totally gets it.

He gave me the ability to articulate to the visual effects company what needed to be done.

One of the prevailing things weve seen in this kind of action fantasy key in of film is 3D.

I was interested to see that it wasnt in 3D.

Was that an option that was ever on the table?

It came up once, and I just said no.

[laughs]

Thats refreshingly honest!

I think, when you seeToy Story 3, I get it.

I totally get it.

When I see what Cameron did withAvatar, I get it.

And Im sure what Michaels doing withTransformers theyre designing and shooting the movie to get the right experience.

Its the conversion thing thats got me so disgusted.

I think a beautiful movie thats designed that way is great.

And it was working in the non-live-action sequences.

Outside that, I dont understand.

I dont get it.

Otherwise it just feels sloppy, doesnt it?

Its also a matter of cost.

How much the conversions cost, how much does shooting it in 3D cost, and all that.

Its much more expensive.

Why does he have seven legs?

Did my contacts drop out?

It was really frustrating.

I think now, theyre starting to go, like, Wait a minute.

But I hate to say this, but I just want it to go away.

ButToy Story 3was fantastic.

I get it in that situation, but not in the others.

You were saying earlier about gettingI Am Number Fourmade on a fairly tight budget.

Would you say that discipline comes from working in TV?

Were the lessons you learned there useful in making this film?

Go to the close-up.

And you realise that hes got such discipline.

Hes literally cutting while he shoots.

Im not that good.

Theres no fuckin way I can do that.

But one thing I get.

So, I think you learn that discipline.

When I started, I got a crane for the one day.

So, Id be like, Ive got the crane.

OnDisturbia, I had one crane.

I was so excited.

You really have to take advantage of that.

Okay, this is the most emotional scene in the episode, so Ill give that one three hours.

That discipline comes across, so when Im shooting a movie, I dont get neurotic about it.

I want to be efficient.

A lot of film directors are crossing over into television and vice versa.

Scorseses doingBoardwalk Empire, for example.

Do you think the lines are becoming blurred between the two?

I think theyre becoming more similar.

I think whats interesting, particularly in US television, is that its getting braver.

So, when you go onto the cable networks, like my friend Frank Darabont didThe Walking Deadon AMC.

As a filmmaker, theres the immediacy.

Once television says you could make something, you dont fuck around.

You dont have a year in development.

[laughs] So, I think theres an immediacy.

you’re able to go make it and do it right away.

And theyre willing to take more chances on TV.

There are things now on cable that are just more risky and more satisfying as a filmmaker.

And at the same time, it sharpens your skills.

I said, Okay, thats good.

He said, How many do you think there were this year?

I said, I dont know.

Like ten less or 20 less?

He said, There were 128 studio movies last year.

Thats just so far down.

But, he said, there are the independent movies as well, but think about that.

Lets say there were 130 studio movies last year.

Thats not a lot of jobs.

And there are so many great filmmakers out there.

So, how do you keep them working?

I think television is providing that opportunity.

Theyre definitely being made less.

You cant make an $18 million movie likeThe Salton Searight now.

They have an old-fashioned approach.

Lets put it out on 50 screens.

Lets go out on 200 screens.

The studio marketing system is so plugged into spending a lot of money.

So, were going to spend 35 million because thats how we get people to see it.

The rivers flowing, and its plugged it into that.

They dont know how to cater a campaign, and really nurture it, other than Fox Searchlight.

I think thats whats happening.

It costs so much to market a movie that everyone tries to hit a home run.

So, everyone tries to hit the massive home run, and all the moneys drying up.

Theyre a part of a bigger company that doesnt understand the movie business.

Before, they were these standalone companies that said, Well make a movie.

Now, its like, By the way, BEG owns you, and Viacom, and CBS.

Thats all you have.

So, its a combination of all that.

The little movies arent getting made.

Can you make a $20 million movie?

Its getting harder now.

Which way can you see yourself going in this climate?

A $25-30 million movie.

I have to get a movie star to do it, but at least hell do it for me.

I lovedThe Salton Sea.

I thought it was great.

Nobody saw it, but I loved making it.

Thats such a diverse thing.

Id love to be able to jump back and forth.

So, youre not looking to follow in Michael Bays footsteps and make giganticTransformersmovies?

I dont personally think I have that in me.

I just dont know if Im ready to go there yet.

What Im trying to do when Im working in a genre is elevate it a little bit.

And the way to elevate the genre is to spend time with the characters.

Ive never been that.

My action movie came out in September [laughs].

My little thriller came out in April.

Ive never been a Christmas, Thanksgiving director.

I have a film out in February [laughs].

I wouldnt want the pressure of a tentpole studio movie.

Its difficult to maintain creative control then, you think?

Thats why I love working with DreamWorks, because Steven Spielbergs a director and owns the studio.

I have so much freedom.

Its good that way.

So, I feel like the three movies, Ive had so much freedom.

Everyones resting their summer on you.

They come along and then theyre forgotten.

DJ Caruso, thank you very much.