What happened with Final Destination was that the movie was in post-production for a long time and I think they changed a lot of the deaths, so a lot of those things were last-minute additions. Everything we shot is in… — Paul W. S. Anderson Copy Share Image
'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.… — Paul W. S. Anderson Copy Share Image
One of the things that struck me when I was a kid and I was learning about Pompeii was these figures that were frozen… — Paul W. S. Anderson Copy Share Image
You are only as good as the movie you make. I really believe that. — Paul W. S. Anderson Copy Share Image
There was a lot of pressure on me as a filmmaker to raise the bar and do better than before so, you know, I… — Paul W. S. Anderson Copy Share Image
When you watch movies in Britain, the reaction when people hate a movie is... they just politely get up and leave at the end.… — Paul W. S. Anderson Copy Share Image
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… — Paul W. S. Anderson Copy Share Image
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… — Paul W. S. Anderson Copy Share Image
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,… — Paul W. S. Anderson Copy Share Image
I think 'Lost' didn't invent the flashback, obviously. It's been a cinematic tool. It's been around almost as long as cinema has. — Paul W. S. Anderson Copy Share Image
These commercials, I directed them all from inside the tracking vehicle, so I was traveling about 85mph most of the time, so there wasn't really anyone sitting beside me other than the driver. But, you know, yeah the agency is there and VW is there, which is- they're paying for it all and also because the agency created the boards,… — Paul W. S. Anderson Copy Share
