So I was drawing in a lot of the habit district in Brazil, put that together with an Asian influence, so there are a lot of different things in terms of architecture which assisted in the construction. Then every sci-fi movie I've grown up with from 'Blade Runner' to 'Aliens' and 'Star Wars.'"

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.

So I was drawing in a lot of the habit district in Brazil, put that together with an Asian influence, so there are a lot of different things in terms of architecture which assisted in the construction. Then every sci-fi movie I've grown up with from 'Blade Runner' to 'Aliens' and 'Star Wars.'"

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.

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.

The class warfare was in the script as well. It establishes what the world is like and what would happen if we really had two zones that were left and everybody had to survive using these two areas. What would our society to do with that set up? I wanted the state of world, in my mind, how it would actually realistically unfold. I drew that from what was in the script.

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.