The cameras were a little twitchy, and you'd get less footage and less set-ups every day. The interesting thing about it was that you just composed images in a completely different way because we had big 3D monitors on set, and you'd wear the glasses and see the image in 3D.

If you work with any new technology, you have to expect that it's going to be a little problematic.

There's something very terrifying about that and very primal about it. It's my belief that what horror does for people is that it provides that primal fear that, when we were wild hunter-gatherers, we had as part of our natural lives because maybe something was trying to hunt and gather you as well. We don't have that anymore in life and that's one of the things that horror films and action films provide for us.

My approach has always been to put 100% into the movie I'm making right now. I think sometimes filmmakers put too much thought into the grand franchise they're going to build. And guess what? If the first movie doesn't work there is no franchise, so I'm always concentrated on making the best, best possible movie right now.

The way it works in commercials is they come to you with the script and then you do the visual, you do the storyboards, and you give your vision of it, but it's very much their baby. You just kind of put your polish and sheen on it, and you're interpretation of it, but it's very much the agency's idea.

We've been working on the visual effects for a year, so we're trying to raise the bar. Stuff will absolutely come out at the screen, but it will absolutely not look as bad as that tire in Final Destination.

I had the opportunity to work with Aliens and Predators when Resident Evil 2 was being made and it was for two different studios. It was for Fox and Sony. They don't care about one another. They just want their movies. So it was very difficult to delay one and... So I had to make a very painful decision to kind of step away from directing the second movie and with the third movie it was the same.