It's more going back into, I've always been really interested in the MKULTRA program and some of the programs and the fact that we really tried to create an actual, I guess you could call it an energy force of yourself. And you know, there were test subjects that were killed during the process. It have a huge ordeal, this huge congressional hearing that shut the whole thing down.

The three-breasted woman was very much at the top of my list in [original 'Total recall']. Like I said, I was fourteen! I remember Arnold [Schwarzenegger] pulling that big tracker out of his nose and freaking out about that. I remember going through the immigration booth where their face splits open with that heavyset redheaded lady. So there were a lot of these little moments that I remember.

I love helicopters. In fact, my wife and my friends, the myth of the chopper in the sky is that Len's going to stop and look at it. I love, probably, destroying them, yes. You know, It's the big elements, the big toys, the trucks the helicopters, and things like that. You have a few tools to play with.

It was practically with people with strings. There was no CG involved, it was just painfully taking Collin [Farrell] and Jessica Biel and putting them upside-down, we built the set upside-down and just try to twist perspective to make it all seem like zero gravity. And it was one of the most difficult things I've ever shot.

One thing that is very different technically is that you don't get a lot of coverage in television. Not like you do on a film. I know we don't have time for separate set-ups, so I will design a scene where I'm hiding multiple cameras within that set-up. That way, if I don't have time to do five set-ups, I can do four cameras in one set-up. It's a different kind of approach for that. For the most part, a lot of television, in a visual sense, lacks time for the atmosphere and putting you in a place.

I really thought the process and what I'm used to doing on film would be different. I thought that because I wouldn't have the same amount of time, I wouldn't do all of the tracks that I like to do or the lighting that it takes. And then, I got there and realized that I don't know any other way. I just do all that stuff really, really fast and under a lot of stress.

Science fiction is an extension of science.