No wonder we have a lot of violence in Rio: the corrupt and violent policemen meet the violent criminals in the streets. What else is going to happen?

Usually I say I have no imagination.

As it turns out, what looks like science sometimes is not.

If you are in Brazil and you grew up in a right-wing dictatorship, you think Marxism is liberating. But if you grew up in Czechoslovakia, and the Soviet Union is controlling everything and killing people, then you think capitalism is liberating. Neither of those two things are true and it doesn't take a lot brains to understand this.

I like to give dimension to shots inside action scenes. It's demanding because you have to rehearse a lot of things happening at the same time and frame all those things in a shot. But I feel like when you accomplish that then you've got a cool action scene.

No wonder we have a lot of violence in Rio: the corrupt and violent policemen meet the violent criminals in the streets. What else is going to happen?

The way that I sort of direct the writers is, let's do the best story we can. Let's not worry about production issues. 'How much will that cost? How are we going to shoot that?' Let's not set up those constraints on the writing. I don't think it helps the project to work like that.