Some people will always be disappointed.

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.

I had done 'Die Hard' and it was somebody's franchise. I actually just got done with the 'Hawaii Five-O' pilot and I was developing some things of my own. So 'Total Recall' one of those projects that I read wanting more not to like it.

Being a fan of science fiction, I collect a lot of science fiction art work and so if you go to my house there's like a library and you just geek out on science fiction material. A lot of the colony worlds specifically are built as a melting pot of different societies, because the world is at a point where there are only two zones that are left inhabitable.

My family is Mormon. I'm not Mormon, but my family is, and my mom was like, "You're doing a show called Lucifer?! But I will admit, he is handsome, so I'll watch it."

When I started doing television, I thought that I would change the way that I shot, the way that I blocked, and the technical side of it. You're not going to change your relationship with the actors or how you approach the characters. That wasn't any different.

It was Die Hard in my father's workshop. And so when that opportunity came up, the possibility of doing it, it's more the teenager in me who says that, 'I have to, of course I'm going to.' So that's the fun of reinventing, or just getting involved in things that really, actually loved as a kid growing up wanting to grow up to be a director.