As a filmmaker, I believe in trying to make movies that invite the audience to be part of the film; in other words, there are some films where I'm just a spectator and am simply observing from the front seat. What I try to do is draw the audience into the film and have them participate in what's happening onscreen.

In the case of 'The Lovely Bones,' I felt that it was subject matter not often dealt with in film, and with a tone that is also rare.

What I don't like are pompous, pretentious movies.

No film has captivated my imagination more than 'King Kong.' I'm making movies today because I saw this film when I was 9 years old.

Everybody's life has these moments, where one thing leads to another. Some are big and obvious and some are small and seemingly insignificant.

New Zealand is not a small country but a large village.

The most honest form of filmmaking is to make a film for yourself.

It's an unwritten rule that when you move to California and you're an English person, you have to drive a convertible, and you have to bank with Wells Fargo because they have a stage coach on their bank card.

I was the first generation of filmmakers where videogames were a serious part of my life. I regard them as just as valid as books or plays in terms of an intellectual property.

I've always seen myself as a populist filmmaker.

You can film the most exciting car chase and the most exciting stunts, but if you don't care about the person inside the car, and you don't care about their predicament, you're not really going to care about the action, either.

Sleep is a outmoded concept. It's best not to think about sleep.

'Predator,' you know, was John McTiernan absolutely at the top of his game.

I guess the way I shoot things is slightly influenced by the way videogames are cut and shot.

I'm definitely of a generation that's very influenced by videogames.

'Aliens' was a brilliant movie, but you still wanted to see the Alien come to Earth.

I guess it seemed like a natural thing to set 'AvP' in the world of the Alien, rather than the world of the Predator. I always liked the idea of it being on earth.

I very much see 'Resident Evil' as my franchise that I kicked, screaming, into life.

If you work with a subject matter beloved by a hardcore fan base, then there's going to be a huge amount of discussion of what you've got wrong or right. In some ways, you can never please overly obsessive fans; it's just impossible. That doesn't mean to say they're not going to go to the movie and thoroughly enjoy it.

'AVP' is not trying to be 'Alien' or 'Aliens,' and it's not trying to be 'Predator.' Those are genius movies.

Having made a real 3D movie, you realize that, right from the production design, you're designing sets that complement the 3D. You're designing interactive elements, like rain or smoke - all this particulate matter in the air enhances the 3D. But if you're shooting in 2D, you don't know about that.

A pivotal moment for me as a filmmaker was when I saw 'Total Recall,' the Arnold Schwarzenegger version, which was the first movie I saw in America.

Growing up, I wanted to make the kind of movies that would play in a multiplex, and those were the kinds of movies I ended up making.

I grew up in England, and at the time, cinema was very heavy arthouse cinema, and there was no one making movies that were designed to be in multiplexes.