Ruben Fleischer

What's great about 'Spy Hunter' is that we have an amazing title, an awesome car, and a great theme song, and we can use that to launch a new franchise that hopefully will compete with the other ones but just be kind of the more fun, video game version of a spy movie.

It's tough to make a sequel that stands up to the original especially one that has, over the course of time, become a bit of a cult favorite.

'The Dark Knight' does such a great job of delivering an intense, action-packed film that didn't pull any punches.

We didn't want to make a movie that excluded any fans. 'Venom' fans actually are of all ages, and so we wanted to be inclusive to all the fans that were excited about the movie.

I work really hard and have rolled up my sleeves for a long time to get the opportunities I've had.

I definitely never intended to do a zombie movie.

When I started trying to become a director, I started shooting low budget short films, 50-dollar music videos, making my own stuff. That eventually led to commercials.

I started out as an assistant to a director on two movies, Miguel Arteta. The movies I worked on were 'Chuck and Buck' and 'The Good Girl.' I didn't even know I wanted to be a director until I started working with Miguel.

Some time after 'Gangster Squad,' after I'd made a couple other movies, I was like, 'In retrospect that 'Zombieland' experience was about as good as it can get, both between the cast and the world of the movie and the way it was received.' I was like, 'We should probably do another 'Zombieland.'

I think sometimes when things have too much time to develop you overthink it and you start making changes that aren't necessary.

I love 'Bond' movies, I love spy movies.

He's an American treasure, I would be honored to fight Tom Hanks.

I get really excited thinking about being in the world without a lot of people.

Yeah, I love 'Boardwalk Empire.'

Yeah, I feel lucky to have the opportunity to try different things.

My first time out of the gate, I made three movies in four years, and they were all very back to back to back.

Venom,' we worked all the way up until the release. It was one of the latest things you could possibly push the schedule to. We actually finished it two weeks before it had to go everywhere throughout the world.

As far as 'Venom,' we took some license with this because I don't think we know a lot about him from his days on planet Klyntar in the comic. But in our movie we thought maybe he could also be somebody who's a little bit of a loser, a loner, and doesn't love being subordinate.

My first job in Hollywood was as a PA in the writers room of 'Dawson's Creek,' and from that early experience on, I've always had an intense appreciation for the energy, creativity and process of making television.

Venom is such a great character, it will be fun to see who he tangles with along the way.

There is more than enough 'Venom' to go around. Venom is a really huge character, and Hardy is an amazing actor, so there is plenty to mine just from Tom's performance, the character and the world he inhabits.

Sometimes in L.A., we get accused of being superficial. I feel like Portland's the opposite, in that there's a greater depth of character, and sense of self.

I feel like there's a true spirit of individuality in Portland that's inherent to the place.

I've always been drawn to the more antihero superheroes.

Zombies are kind of a perennial.

I think we can all agree it would be pretty amazing to see Spider-Man and Venom face off in a film.

We're definitely planning a huge world with this 'Venom' story, and we want to be able to satisfy our own desires and the desires of our fans to explore all of the beloved characters from the universe.

You know, duality has always been a strong theme throughout 'Venom'-focused stories, whether it's in the comics or in movies, and that's something I think that Tom Hardy's played with in a lot of his work.

I have a music-video background, and I feel like the responsibility of a music-video director is to do something that hasn't been done before in a really cool visual way. So much innovation has come in filmmaking through music videos.

I've always been fascinated by history.

I've always loved the genre of gangster films.

The trickiest thing is that a lot of times in 'Venom' comics, they'll reveal part of Eddie, and he'll be like a Venom body with an Eddie head, or he'll do that classic split frame face.

I read pretty much every 'Venom' comic that exists.

You know, the comedic and horror thing was the key to 'Zombieland,' which is a comedy first.

I'm a huge fan of comic books movies and comics, and so for me it was a real dream to get to make a movie in this world, and certainly to get to make a movie with Venom as its titular character.

That 'Zombieland' thing was pretty great. I think I didn't realize just how lucky I was after that first movie, to have something so special and to have a cast that's so special.

I come from music videos and commercials, where style is a big part of the whole world. I've always tried to add that to whatever I'm doing.

I started with digital filmmaking. I've pretty much only done digital filmmaking.

I love music videos, and I think maybe it's my favorite format.

I've had a really hard time dealing with 35mm. I greatly prefer HD.

I'm not as clever as J.J. Abrams and those guys who fill it with all of these things for people to find.

It was fun playing with those jumps and the flashbacks in 'Zombieland,' but I don't think you need it to make a good movie. It's fun to just do a more straightforward one.

I just want to make sure whatever I take on, I can deliver.

I haven't done a movie without a member of the original cast of 'Zombieland' - they've all been in every movie I've done.

With '30 Minutes or Less,' there was a conscious decision on my part to make it a little less stylized. I wanted it to feel like an '80s action movie.

I thought 'I Am Legend' did a really great job of it, and 'Omega Man,' that concept of an empty world.

Like, I've worked on movies where you go in every day and you know that what you're shooting isn't very good to start with and then you have to figure it out, and that's way harder.

I think the filmmakers that I love are ones that cross genres and do different thinks, the way that David O. Russell can do something like 'Flirting With Disaster' but then go do 'Three Kings' which is like an incredibly visual film - that's a huge reference point.

If you have somebody who can just do everything easily, then it's kind of boring. If you're handcuffed to a chair and you've got to fight while your handcuffed, or something like that, it just adds a cool element.

I have this horrible habit of just pressing online bookmarks that are at the top of my browser like ad infinitum.