It's a very different experience shooting in 3-D because the camera rigs are so large. Everything we've become accustomed to in the last ten years as filmmakers, which is cameras getting smaller and smaller and you can just throw them on your shoulder and stick them in a car and do whatever you want, you can't do any of that now. You're forced to put things on dollies and track and cranes.

I was excited about the fourth movie I guess conceptually because, what I felt we should do it, we should try to make it a conceptual jump like Terminator did to T2. It was still the Terminator franchise, but it was something kind of bigger and grander.

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.

Every movie is a commitment of a year or a year and a half. Commercials are much faster than that because they're much more contained. You can get in and out really fast, and you do a piece of work the you see the end result very quickly.

The idea of doing a period movie, some people say, "Isn't it odd that you're doing a period movie? That's a change of pace for you." And, I'm like, "Not really." When you're doing a science fiction movie, it's almost exactly the same.

Every time I go to Japan and meet Capcom it is like going to see the Umbrella Corporation. You ask them things and they won't give you a straight answer about anything.

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.