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.

For me, it's a multitude of things. In the modern world, there's a real genuine fear of loss of individuality and I think the undead speak to that. I also think the idea of the dead coming back to life, and this unstoppable foe that just keeps coming and coming, but rather slowly just chases you, is a real primal fear. It's like a fear of claustrophobia, heights or water.

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.

These commercials, I directed them all from inside the tracking vehicle, so I was traveling about 85mph most of the time, so there wasn't really anyone sitting beside me other than the driver. But, you know, yeah the agency is there and VW is there, which is- they're paying for it all and also because the agency created the boards, they want to make sure that you're not going off the rails in executing it. And also they can help, because they- it's a very different thing to cinema.

It's all based around the idea that basically VW cars are space age. They're the worst cars to use in action movie, because all the things you want to traditionally do in an action movie they won't allow you to do, because they make you drive safely if you want to or not.

So each of the commercials- basically it's an action movie cliché. "Bus" is very much inspired by Speed obviously, where you have a high-jacked out of control bus, and you have heroes who are trying to jump from a moving vehicle to the bus and they just can't do it because the moving vehicle can't get close enough, because all these VW cars have this distancing technology, which is really fantastic.

What makes a mockery of a lot of these 3D conversions, where they're shot in 2D and converted to 3D. Having laid a real 3D movie, you realize that it's right in the production design. You design sets that enhance the 3D and you design interactive elements, like the rain or smoke. If you're shooting 2D, you don't know about that.