How early in the development process did you decide to shoot the film in 3D?
I didn't think it was possible if I did it in 2D. ... If I had another dimension, maybe — just maybe — it might happen. Because in the regular way we go about making movies, it just could not be done.
The film really is an exceptional use of the technology. I remember when Prometheus came out this past summer and had the flying fish scene from Life of Pi attached to it — it seemed to demonstrate how important the technology was in bringing this story to life. And more so, that scene marks an aspect-ratio shift. Life of Pi is a standard 1.85:1, but for the flying fish, it becomes a wider CinemaScope ratio. Where did that decision come from?
I've always wanted to do that ... since film school, and no one allowed me to. Why do we have to stick with one ratio? It was like that with Crouching Tiger. When we were in some scenes, I want it to be standard. When we're in the desert, it should be wide screen. I felt that 'Scope was the only way to see this [flying fish] scene, and with the black areas [at the bottom of the frame], I could pull fish out of there; I think that's a great tool in 3D filmmaking. I think it's very exciting.
And then there's that exceptional overhead shot of all the various luminescent creatures below the raft, and that's a standard Academy ratio [1.37:1].
Now, with digital ... I hoped I'd done something that nobody noticed. But you noticed ... I thought it looked best that way. And it looked like the book cover.
Die Arche Noah dient dafür, die Masterrace (zwei von jeder Spezies) unbeschadet in dieses neue Zeitalter zu eskortieren. 
