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

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.

How do you make RoboCop? How do you slowly bring a guy to be a robot? How do you actually take humanity out of someone and how do you program a brain, so to speak, and how does that affect an individual?

Usually I say I have no imagination.

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?

You never find yourself involved in a single action story. Your family is always being with you. And you cannot separate whatever is going on in your life with your relationship with your son, with your wife.

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.