But while the industry embraces shooting more and more natively in 3-D (including the upcoming "Prometheus," "The Hobbit," and "The Great Gatsby"), Sonnenfeld flatly rejected it in favor of post-conversion. The rigs were too heavy, the set-ups weren't fast enough, the technicians weren't adept enough, and the digital look not filmic enough. Mind you, Sony spent hundreds of thousands of dollars shooting 3-D tests, but that was two years ago and there have been many advancements since then.

"For a comedy director, it was a momentum killer," Sonnenfeld suggests. "They may have smaller rigs now but I don't know how they deal with interocular separation [the distance between eyes] and the size of the matte box. Often what happens is the converted shots look better because you can control the IO. I remember Bill Pope, the cinematographer, telling me that if we shot native in 3-D we'd be stuck with the current technology at the time but that if we converted we'd be able to take advantage of technology 17 months out."

Sonnenfeld also prefers coming out of the screen rather than moving inside it, which is the prevalent trend today. "It's not for a visual gag but to get the audience more involved," he contends. "Remember, the old dolly/zoom from Hitchcock's 'Vertigo'? We're doing things like that you wouldn't be able to do if you're shooting native 3-D unless you converted one eye. So I really embraced 3-D."

One of the director's favorite moments in this time travel farce is when Smith dives off the Chrysler Building to go back to the '60s to save the world. "It's a total ride in 3-D but I relied on stereographer Corey Turner. He's very much aware of not bouncing where you have to focus and eases you into foreground and background separation. And I asked Imageworks about having the Chrysler Building be shadowed by another building so that the background goes dark and the floating doesn't distract."

Sonnenfeld, whose two favorite movies are "Dr. Strangelove" and "The Conformist," obviously views comedy as a total physical experience. "I love straight on two-shots like Will and Tommy and Wu's. They're way in front of the screen. There's a total fear of coming outside the screen and at the audience."

Maybe that'll change after the 3-D release of "MIB 3" on May 25th.