It's rare for a first-time director to be given a project of a scope that "V for Vendetta" demands.

But Warner Bros. did not need to worry: James has worked as a first assistant director under George Lucas and the Wachowski Brothers on projects that go beyond traditional Hollywood magnitude: "Star Wars: Episode II - Attack of the Clones" and the two "Matrix" sequels.

He directs Natalie Portman, Hugo Weaving, and Stephen Rea in this tale of a demoralized Britain led under a conservative, tyrannical rule. A freedom fighter known only as V (Weaving) vows to lead the people of England against the government with hopes to make their voices and their stand known to all those distraught by their totalitarian society.

James recently talked about the movie in New York at a Q&A.

Q: Did you try to talk to [co-creator] Alan Moore to convince him to be a part of the project since he declined early on?

JAMES: Both Joel [Silver] and Larry Wachowski ended up speaking to Alan and Alan has varied opinions and can't be dissuaded from what he wants to say. It's disappointing but that's the guy he is. You move on from that, or we move on from that.

Q: How did you decide what subplots and elements to keep from the graphic novel, and what to cut?

JAMES: Whenever you do an adaptation to a novel, there are always subplots and amalgamation of characters, and what you hope to do is stay true to the ideas and intent and questions that the original source material asks. That's what we tried to do. Obviously you can't fit everything in. V is such an elaborate work that you do your best to bring a fully form to the screen where you can hopefully do justice to the material.

Q: Were you able to contribute anything to the script that Andy and Larry Wachowski wrote?

JAMES: Early on, I did a draft of it. There was a draft that was immediately after they acquired the rights in the mid 90s. When we took out of the drawer, I tinkered with it. We took it back to the Wachowskis and that's the draft we shot with. They did the adaptation. I directed the film.

Q: And what about your role as a director? How active were Andy and Larry with the day-to-day directing duties? Was this something they let you run with or were they active in giving their own thoughts?

JAMES: We talked about me directing the film and it was about me directing the film. They're obviously producers and they wrote the script. They were there and a great standing board if I needed to ask something or if they wanted some creative input. I could take it or leave it. They're generous beyond fault. It was about me going out and directing the film. It doesn't work when you have creative interference so they were there, and the producers.

Q: What challenges did filming an actor behind a mask pose for you?

JAMES: I was blessed with a very good actor who is Hugo Weaving. He has fantastic physicality and his voice is great. Hugo trusted me to tell him if he was doing something wrong. But he really got the idea of working with the mask quickly. He comes from a great background of theater and has his history of greek theater and mask work. We always went for the emotional core of the scene. I think it really helped us and helped Natlaie to try and get the meat of the scene.

Q: Why Natalie Portman for the role of Evey?

JAMES: I worked with Natalie before so there was a certain sure-hand with her but I think if you're in a room with Natalie Portman for more than 30 seconds, you understand how bright she is and how erudite and I think you need an actress to take you on a journey. The Evey character really goes south in one place and ends up in another place. In many ways, she's the audience's narrative guide and she needs to have a believability to her. I think Natalie really embodies that.

Q: Did Warner Bros. ever ask you to change the liberal tone of the movie to make it more moderate?

JAMES: No. And some people would say that's surprising. I think the genius of Warner Bros. at the moment is that they trust the material and they trust you as filmmakers. At the point that they got the script from the filmmakers, they were all about “go out and make the film.” They didn't want to make any changes. They have an understanding that the film is about context. I think it's a smart move by the studio.

Q: One could watch this film and see this as a representation of the Bush-White House administration. Are we supposed to take that into context?

JAMES: I think whatever baggage you bring into the movie, you can read into it. To be fair, I say “yes” flippantly. I would say it's more about all societies where governments can go if left unchecked. Obviously there are parallels in there. They're in there because they need to be said. Whether it's about Bush's America or Blair's United Kingdom, it speaks to the past and speaks to the future hopefully.

"V for Vendetta" opens in theaters this week.