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

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?

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.

I think the media needs a little criticizing now, as it did in the '80s, don't you?

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.

In Rio de Janeiro, every cop has to make a choice. He either turns dirty, keeps his mouth shut, or goes to war.

How can I make a movie about the violence of the police if the police aren't going to let me film it?