I went for a more classical approach to filmmaking with lots of dolly, track and cranes, and slightly slower, more choreographed fight moves, so you get more fight moves in one take.

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.

You really feel like you're on the cutting edge and you know you are because all the camera equipment you take for granted doesn't exist for 3-D. So all the cranes with all the stabilized heads, they don't work on 3-D because they're all built for lightweight camera packages. As soon as you kind of put two cameras together and all the other crap that they need and the cabling to go back to the computers, we've literally, the cranes on these movies, they break after a couple of days.

I like alternating commercials with movies, because it keeps the pace up. You can't slack on a commercial. You need to go fast. That's a terrific piece of action, I think if that was scheduled for a movie, you'd put that in for two or three days worth of work.

What happened with Final Destination was that the movie was in post-production for a long time and I think they changed a lot of the deaths, so a lot of those things were last-minute additions. Everything we shot is in the movie and it's all been designed. We didn't change anything. It's been a year of making those things happen, exactly as we had pictured them.

I've so got my plate full with Resident Evil and then The Three Musketeers, I'm just not involved with Castlevania. I'm not personally involved with the movie at all. I'm not producing that. After these two films, then I'm having a holiday.

I always run the stories by Capcom. They read the scripts and give their comments. I would never want to kill a character that they really want to use in the next game.