A lot of these movies are informed by the movies that come before them.

I love helicopters. In fact, my wife and my friends, the myth of the chopper in the sky is that Len's going to stop and look at it. I love, probably, destroying them, yes. You know, It's the big elements, the big toys, the trucks the helicopters, and things like that. You have a few tools to play with.

With Die Hard it was just something that I, you know, I grew up with those movies. I made a Die Hard movie with my friends in my backyard during high school. It was terrible.

Just movies in general. It's such a wonderful business as much as you feel, you are fine tuning your craft, every movie is a completely different challenge. Every fight sequence is different. Every action set piece. I enjoy that.

A lot of people don't put the numbers together correctly. But Underworld, honestly, the way it came about - the real way it came about - I took a meeting with Dimension, and they were looking to do just a werewolf movie, and I wasn't too interested in doing just a werewolf movie.

My family is Mormon. I'm not Mormon, but my family is, and my mom was like, You're doing a show called Lucifer?! But I will admit, he is handsome, so I'll watch it.

It was Die Hard in my father's workshop. And so when that opportunity came up, the possibility of doing it, it's more the teenager in me who says that, 'I have to, of course I'm going to.' So that's the fun of reinventing, or just getting involved in things that really, actually loved as a kid growing up wanting to grow up to be a director.

When I started doing television, I thought that I would change the way that I shot, the way that I blocked, and the technical side of it. You're not going to change your relationship with the actors or how you approach the characters. That wasn't any different.

So the question never comes up. I love to work with actors who I feel really confident in knowing what I'm going to get from them. And making a movie is such a risk that it's comforting to build up a good support team in production as well as cast.

LSD caused a lot of experimenting going on. And we're thinking, 'Wait a minute, what if we've got...' I always thought, 'What if some of those experiments actually had worked?' And what if they did? We probably wouldn't know that they existed. We heard that they were shut down, but we probably wouldn't be told if they succeeded.

In mine, they were just trying to steal a briefcase of cocaine.* That's it. Some flour that I got out of my mom's cupboard.

It was practically with people with strings. There was no CG involved, it was just painfully taking Collin [Farrell] and Jessica Biel and putting them upside-down, we built the set upside-down and just try to twist perspective to make it all seem like zero gravity. And it was one of the most difficult things I've ever shot.

Some people will always be disappointed.

As society evolves, people are interested in a new take on an old beloved story.

I had made a list of about ten things that I remembered from the original 'Total Recall' before I went back and watched. It had been about twenty years. I wanted to write it out before I watched it again. And I felt if those things stayed with me long enough, those are the things that I wanted to highlight.

I had done 'Die Hard' and it was somebody's franchise. I actually just got done with the 'Hawaii Five-O' pilot and I was developing some things of my own. So 'Total Recall' one of those projects that I read wanting more not to like it.