With Die Hard it was just something that I, you know, I grew up with those movies. I made a Die Hard movie with my friends in my backyard during high school. It was terrible.

I had made a list of about ten things that I remembered from the original 'Total Recall' before I went back and watched. It had been about twenty years. I wanted to write it out before I watched it again. And I felt if those things stayed with me long enough, those are the things that I wanted to highlight.

I would love to travel to the future to plot out some things so there's no more guess work.

There are plenty of directors who work with the same actors over and over, many more times than I have. Like I have worked with Bill Nighy more times than I have worked with Kate, but I'm not married to Bill Nighy.

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 think that it drives from an emotional connection with everybody that pulls you through all of those events, whether it's the events or what would be more the action, or I guess the visual effects side of it. So it always starts with me from - emotionally - 'Why do you care about the people who are going through what they're going through?' Because it takes a hell of a lot to put them through that. So you better care for them when they're doing it.

A lot of people don't put the numbers together correctly. But Underworld, honestly, the way it came about - the real way it came about - I took a meeting with Dimension, and they were looking to do just a werewolf movie, and I wasn't too interested in doing just a werewolf movie.