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The 'Monster Hunter' world includes these huge deserts that make the Gobi Desert look like a sandbox, and they have ships that sail through the sand.
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.
There was a lot of pressure on me as a filmmaker to raise the bar and do better than before so, you know, I put a lot of thought and energy, that's for sure.
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.
'Pompeii' will be PG-13. I think it has to have a level of violence and death in it because you've got a volcano exploding. But it will be another PG-13 movie.
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.
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.
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.
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.
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.
My grandfather, who brought me up, was a coal miner. I visited the mines with him. I remember it vividly. It was horrible. I'm glad I didn't go into the family business.
3D really altered the way I shot the movie completely, and it was exciting because, after 20 years of filmmaking, I felt like I was making my first movie, all over again.
My first movie that came out - 'Shopping,' a British movie starring Jude Law and Sadie Frost - there were certain journalists in the U.K. who just eviscerated that movie.
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.
I really believe that, as filmmakers, we have a duty, which is, if we're asking people to pay a premium price for a 3D ticket, we have a duty to deliver a premium product.
What I love about 'Monster Hunter' is the incredibly beautiful, immersive world they've created. It's on the level of, like, a 'Star Wars' movie in terms of world creation.
If you're going to make a horror movie, it doesn't get any better than 'Alien,' and if you're going to make an action movie, it really doesn't get any better than 'Aliens.'
I had played 'Mortal Kombat' back I arcades in London, and I loved it. I came to the movies as a genuine fan of the intellectual property, and I think that counts for a lot.
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.
The attraction of watching a movie called 'Alien vs. Predator' is you're anticipating - and the movie has to deliver - battle scenes and fight scenes between the two creatures.
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.
When I first came to Hollywood to make 'Mortal Kombat' back in the day, there was this rule that female-led action movies don't work and American studios didn't want to make them.
I think, quite often, filmmakers kind of think so much about what the franchise will be and sometimes can neglect to put their efforts into the movie that they are actually making.
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.
One of the reasons why Resident Evil is a very successful video game franchise, much more so than a lot of others that have fallen by the wayside, is that they have constantly evolved.
DVD ushered in this era when you had to have additional footage, deleted scenes, things like that. There was no call for that back when we were just doing VHS cassettes and LaserDiscs.
I've always seen my movies in particular as being an immersive experience. I mean, with the technology at my disposal, I've always tried to make them as immersive an experience as possible.
'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.
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.
There's another game that Capcom, who make 'Resident Evil,' have created called 'Monster Hunter,' which is these amazing, amazing creatures in these fantastical realms, I'm very excited about that.
I think 'Death Race 2000' is a classic, but it's a classic from the 1970s, and I think it's a particular kind of drive-in-exploitation movie satire masterpiece, and it was very much a movie of its time.
When I started working as a writer-director, that's when he became Paul Thomas Anderson and I became Paul W.S. Anderson. Neither of us can write and direct an American movie under the name Paul Anderson.
When you watch movies in Britain, the reaction when people hate a movie is... they just politely get up and leave at the end. And when they love a movie... they just politely get up and leave at the end.
The other video game adaptation I did was Mortal Kombat, and I did that because I loved playing the games in the arcade. I play all of the Resident Evil games because I'm very much immersed in that world.
When that technology becomes widespread and it's on every car on the freeways, it's going to save so many lives. Especially in America, so many people get killed in these multi-car pileups on the freeways.
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.
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 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.
One of the things that struck me when I was a kid and I was learning about Pompeii was these figures that were frozen in the moments of their death. It is very powerful imagery, and it is very emotional and very evocative.
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.
If you're going to ask people to pay a premium price, you have to deliver a premium product. Not enough 3D movies have delivered on that promise. People got tired of it, and that's why they started to turn their back on 3D.
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.
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. In 3D, I didn't want to do that anymore.
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.
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.
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 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.
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.
We are definitely modernizing 'The Three Musketeers' without compromising the fun of shooting a period piece. But in our film, corsets and feathered hats don't take center stage. Our version is rich in eye-popping action, romance, and adventure.
I've always felt that there's a lot of similarity between doing a comedy and doing a scary movie because jokes and scares are all about timing. If you give the punch line too early or too late, the joke falls flat. And it's the same with a scare.