I don't actually like blocking actors. I prefer giving actors freedom. They don't have to step on a precise mark with me. Instead of giving marks to the actors I like to give marks to the camera.

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.

RoboCop the first movie was fantastic. But even if there was no movie, the concept of RoboCop is brilliant, first because it lends itself to a lot of social criticism, but also because it poses a question, 'When do you lose your humanity?

We make violent cops, we make violent criminals, and no wonder we have shootouts in slums all of the time.

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.

I come from a documentary background and my natural tendency, as a filmmaker, is to make a movie, if I have something to talk about. If it's not about anything that matters, I don't feel like doing it. I'm not against people who make movies just for fun, but I'm not one of those guys. I just want to provoke thinking and debating about certain issues.