I have to be clear with myself and very conscious of what I am trying to say. Misunderstandings will always take place; it's unavoidable.

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.

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?

I like some superhero movies, but I have to say that they all feel the same to me. I've seen them a million times. They're all the same movie.

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.