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.'"

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.

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.

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.

As society evolves, people are interested in a new take on an old beloved story.

In mine, they were just trying to steal a briefcase of cocaine.* That's it. Some flour that I got out of my mom's cupboard.

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