When I was a kid, every field trip was to some Roman fort because it was cheap and free.

I've been obsessed with Romans since I was a child.

Being British, you see a lot of Australian movies and TV shows.

I don't think it would be possible for me to respect people like Ridley Scott or James Cameron more than I already do. They're gods of filmmaking.

True 3D is, you have to kind of originate the images in three dimensions.

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.

3D is obviously not as suited to drama and romantic comedies. But for what I do, I felt that 3D was a very, very appropriate technology.

The idea of being able to polish something for nine months - it's the perfect way to hone your film.

I've always seen myself as a global filmmaker.

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

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

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.

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.

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.

I don't read reviews anymore.

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.

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 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.

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

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'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.

I'm a big 3-D convert.

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

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.

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

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.

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.

No one rocks a heavy machine gun like Michelle Rodriguez.

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.

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

'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 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.

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.

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.

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.

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

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.

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

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.

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

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

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

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

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

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.

I've always seen myself as a populist filmmaker.

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.

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.