You know, I don't really do that much looking inside me when I'm working on a project. Whatever I am becomes what that film is. But I change; you change.
I like the smell of film. I just like knowing there's film going through the camera.
A lot of the films I've made probably could have worked just as well 50 years ago, and that's just because I have a lot of old-fashion values.
Every time I go to a movie, it's magic, no matter what the movie's about.
I am an American Jew and aware of the sensitivities involved in the Israeli-Palestinian conflict.
I don't think any movie or any book or any work of art can solve the stalemate in the Middle East today. But it's certainly worth a try.
I interviewed survivors, I went to Poland, saw the cities and spent time with the people and spoke to the Jews who had come back to Poland after the war and talked about why they had come back.
I never felt comfortable with myself, because I was never part of the majority. I always felt awkward and shy and on the outside of the momentum of my friends' lives.
I want to be the Cecil B. DeMille of science fiction.
I wanted to do another movie that could make us laugh and cry and feel good about the world. I wanted to do something else that could make us smile. This is a time when we need to smile more and Hollywood movies are supposed to do that for people in difficult times.
I'd rather direct than produce. Any day. And twice on Sunday.
I'm always in favor of Israel responding strongly when it's threatened. At the same time, a response to a response doesn't really solve anything. It just creates a perpetual-motion machine.
I dream for a living.
I'm not really interested in making money.
I've discovered I've got this preoccupation with ordinary people pursued by large forces.