Technology can be our best friend, and technology can also be the biggest party pooper of our lives. It interrupts our own story, interrupts our ability to have a thought or a daydream, to imagine something wonderful, because we're too busy bridging the walk from the cafeteria back to the office on the cell phone.
I think the key divide between the interactive media and the narrative media is the difficulty in opening up an empathic pathway between the gamer and the character, as differentiated from the audience and the characters in a movie or a television show.
When I was a kid, there was no collaboration; it's you with a camera bossing your friends around. But as an adult, filmmaking is all about appreciating the talents of the people you surround yourself with and knowing you could never have made any of these films by yourself.
Remember, science fiction's always been the kind of first level alert to think about things to come. It's easier for an audience to take warnings from sci-fi without feeling that we're preaching to them. Every science fiction movie I have ever seen, any one that's worth its weight in celluloid, warns us about things that ultimately come true.
My dad took me out to see a meteor shower when I was a little kid, and it was scary for me because he woke me up in the middle of the night. My heart was beating; I didn't know what he wanted to do. He wouldn't tell me, and he put me in the car and we went off, and I saw all these people lying on blankets, looking up at the sky.
Naturally, it is a terrible, despicable crime when, as in Munich, people are taken hostage, people are killed. But probing the motives of those responsible and showing that they are also individuals with families and have their own story does not excuse what they did.
I love creating partnerships; I love not having to bear the entire burden of the creative storytelling, and when I have unions like with George Lucas and Peter Jackson, it's really great; not only do I benefit, but the project is better for it.
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.
When I was very young, I remember my mother telling me about a friend of hers in Germany, a pianist who played a symphony that wasn't permitted, and the Germans came up on stage and broke every finger on her hands. I grew up with stories of Nazis breaking the fingers of Jews.
The only time I have a good hunch the audience is going to be there is when I make the sequel to 'Jurassic Park' or I make another Indiana Jones movie. I know I've got a good shot at getting an audience on opening night. Everything else that is striking out into new territory is a crap shoot.
This whole thing about reality television to me is really indicative of America saying we're not satisfied just watching television, we want to star in our own TV shows. We want you to discover us and put us in your own TV show, and we want television to be about us, finally.
I turned down 'Harry Potter' and 'Spider-Man,' two movies that I knew would be phenomenally successful, because I had already made movies like that before and they offered no challenge to me. I don't need my ego to be reminded.
Before statehood was achieved, Syria and Egypt had their tanks and military equipment lined up to invade Tel Aviv and destroy it; but the Israelis scrambled together an air force, some of it from old Second World War Messerschmidts, and the invasion was halted.
My problem is that my imagination won't turn off. I wake up so excited I can't eat breakfast. I've never run out of energy. It's not like OPEC oil; I don't worry about a premium going on my energy. It's just always been there. I got it from my mom.
I believe in 3D for certain kinds of films. I certainly believe in using 3D for all things in animation because animation has such clarity and so much depth of focus. It worked great with 'Avatar' because 70 percent of that film is animated.
People often tell me how much they love the digital skies that we obviously painted for 'War Horse.' Well, there's not a single sky that we put in through special effects. The skies you see in the movie are the skies that we experienced - but it was definitely challenging at times.
Audience members are only concerned about the story, the concept, the bells and whistles and the noise that a popular film starts to make even before it's popular. So audiences will not be drawn to the technology; they'll be drawn to the story. And I hope it always remains that way.
The most amazing thing for me is that every single person who sees a movie, not necessarily one of my movies, brings a whole set of unique experiences. Now, through careful manipulation and good storytelling, you can get everybody to clap at the same time, to hopefully laugh at the same time, and to be afraid at the same time.
In the re-creation of combat situations, and this is coming from a director who's never been in one, being mindful of what these veterans have actually gone through, you find that the biggest concern is that you don't look at war as a geopolitical endeavor.