'Death Race' was a very modern action movie, and it used all of those modern action techniques with lots of hand-held camera, lots of punchy zooms, and lots of quick movements and quick cuts.

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

I always refer to the first 'Resident Evil' movie as 'the little movie that could' because, at the time, it was kind of unfashionable to do video game movies.

No one rocks a heavy machine gun like Michelle Rodriguez.

Movies are not an art form where you get to kind of sit in your art gallery and paint, you know? You don't do that. You're spending a lot of somebody else's money.

If you make just hardcore horror, there's a limited audience for that. Whereas if it's horror mixed with action, I think you kinda broaden your potential fanbase.

One of the strengths of the 'Resident Evil' game franchise is that they keep changing it up.

It's very rare, in a movie franchise, where you have the same creative team behind the camera and in front of the camera, pretty much, for the entire growth of the franchise.

I saw 'Spacehunter 3-D.' It gave me a headache.

I'm a big 3-D convert.

I've always tried to do camera moves that I felt were immersive. So I think, as a filmmaker, my style of filmmaking is very well-suited to 3-D anyway, so it's not like I'm having to change a huge amount of the way I shoot to work in 3-D.

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.

Pompeii was an incredibly corrupt city. Pompeii was the Las Vegas of the Roman Empire.

I love 3D, and I'm very upset about the way it's being treated and thrown away by Hollywood in this kind of horrible grab for the money with all these bad 3D movies and terrible 3D conversions.

Honestly, I don't think anyone confuses me with Wes Anderson. He's in his own terrific universe, but not the kind anyone would mistake for mine.

I don't make films for critics, and I'm not particularly interested in what they have to say, and they don't have a bearing on my audiences.

I don't read reviews anymore.

When I made my first film, 'Shopping,' the reviews were incredibly snooty. They said things like, 'Jude Law is too pretty for the role,' and that's why I don't respect the British press. That kind of small-minded thing doesn't consider what people like.

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 your interpretation of it, but it's very much the agency's idea.

I started doing commercials in 2008 right after we released 'Death Race,' and the reason was that I spent two years prepping Death Race and building all these custom rigs to shoot cars in the most dynamic and exciting way.

I love 'Death Race.' It's one of my favorite films.

I really believe, especially with 3D, you kind of have to approach it as this holistic thing. You have to kind of mount a 3D movie; you can't just add 3D as a kind of a special sauce sprinkled on top of a dish afterwards to give you an extra 20-percent in theater grosses, which I think is the way a lot of studios perceive it.

I can't remember who said, 'No film is completed, just abandoned,' but I think most filmmakers will tell you that they could endlessly fiddle with their films for the next couple of decades, you know, changing things, altering things.

'Pompeii' is kind of a lifelong obsession for me.