Only a generation of readers will spawn a generation of writers.
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.
The delicate balance of mentoring someone is not creating them in your own image, but giving them the opportunity to create themselves.
There is a fine line between censorship and good taste and moral responsibility.
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.
I had a great time creating the future on 'Minority Report,' and it's a future that is coming true faster than any of us thought it would.
Even though I get older, what I do never gets old, and that's what I think keeps me hungry.
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.
You shouldn't dream your film, you should make it!
People have forgotten how to tell a story. Stories don't have a middle or an end any more. They usually have a beginning that never stops beginning.
All of us every single year, we're a different person. I don't think we're the same person all our lives.
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.
The Internet has been this miraculous conduit to the undeniable truth to the Holocaust.
I have never before, in my long and eclectic career, been gifted with such an abundance of natural beauty as I experienced filming 'War Horse' on Dartmoor.
I've always been interested in how we survive and how resourceful we are as Americans.
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 love editing. It's one of my favorite parts about filmmaking.
I am an American Jew and aware of the sensitivities involved in the Israeli-Palestinian conflict.
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 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.
The public has an appetite for anything about imagination - anything that is as far away from reality as is creatively possible.
When I grow up, I still want to be a director.
I like the smell of film. I just like knowing there's film going through the camera.
There is something about killing people at close range that is excruciating. It's bound to try a man's soul.
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.
You have many years ahead of you to create the dreams that we can't even imagine dreaming. You have done more for the collective unconscious of this planet than you will ever know.
I don't drink coffee. I've never had a cup of coffee in my entire life. That's something you probably don't know about me. I've hated the taste since I was a kid.
Whether in success or in failure, I'm proud of every single movie I've ever directed.
I get that same queasy, nervous, thrilling feeling every time I go to work. That's never worn off since I was 12 years-old with my dad's 8-millimeter movie camera.
The Israeli-Palestinian conflict and Jihadism have nothing to do with each other.
From the day I started to think politically and to develop my own moral values, from my earliest youth, I have been an ardent defender of Israel.
As a Jew I am aware of how important the existence of Israel is for the survival of us all. And because I am proud of being Jewish, I am worried by the growing anti-Semitism and anti-Zionism in the world.
It all starts with the script: it's not worth taking myself away from my family if I don't have something I'm really passionate about.
I think documentaries are the greatest way to educate an entire generation that doesn't often look back to learn anything about the history that provided a safe haven for so many of us today.
Documentaries are the first line of education, and the second line of education is dramatization, such as 'The Pacific'.
Casting sometimes is fate and destiny more than skill and talent, from a director's point of view.
Well, luckily with animation, fantasy is your friend.
There's nothing self-serving about what motivated me to bring 'Schindler's List' to the screen.
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.
When I felt like an outsider, movies made me feel inside my own skill set.
I missed my dad a lot growing up, even though we were together as a family. My dad was really a workaholic. And he was always working.
I think Lincoln had a unique parenting style. He let his kids run free and wild.
My father had many, many veterans over to the house, and the older I got the more I appreciated their sacrifice.
One of the gratuities about being a director is that you can volunteer yourself out of difficult details.
The baby boomers owe a big debt of gratitude to the parents and grandparents - who we haven't given enough credit to anyway - for giving us another generation.
'E.T.' began with me trying to write a story about my parents' divorce.
My dad's been responsible for a lot of my issues.
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.
I always think if it's a good story, the audience can't wait to run out of the theater and go tweet somebody with the gist of a story, in a nutshell, almost, because it was that interesting.
I don't make unconventional stories; I don't make non-linear stories. I like linear storytelling a lot.
If the world ran the way a crew runs a set, we'd have a better, more progressive world.
I have a choice - I can either watch all the dailies, or I can follow the social media. I can't do both.
I didn't read reviews earlier in my career, but I read them now as I'm older. I read them all.
I made 'Saving Private Ryan' for my father. He's the one who filled my head with war stories when I was growing up.
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.
You can't intellectually purge yourself of who you are. Whatever that is, it's going to come out in the wash, the film wash. What you are is going to be relevant, if not to yourself, to the movies you make.
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.
I thought film was more important than life itself for many years. But I was naive to the world until my first child was born in 1985.
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.
'The Color Purple' is the kind of character piece that a director like Sidney Lumet could do brilliantly with one hand tied behind his back.
My early exposure to all the leviathans of the Saturday matinee creature features inspired me, when I grew up, to make 'Jurassic Park.'
Making a movie and not directing the little moments is like drinking a soda and leaving the little slurp puddle for someone else.
I just had a crazy, wild imagination all my life, and science fiction is the greatest outlet for me.
I love history, so I do a lot of movies about history.
Because television doesn't offer the kind of budget that a movie offers, you've got to be a little more careful where you spend the money to put the fiction in science.
I love to go to a regular movie theater, especially when the movie is a big crowd-pleaser. It's much better watching a movie with 500 people making noise than with just a dozen.
The Japanese had a very strong belief in Bushido, death before dishonour. They were fighting for their country; they were the aggressors in World War II.
For the most part, everybody who fights in war fights to survive.
I once said that CGI makes you less inventive. At the time I was bemoaning the loss of the practical stunt. If a stunt can be done practically and safely, I'd rather do it old-style.
There are so many rumours about so many of us in the public eye. Sometimes it's too hard to deny what is not true.
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.
You can't start a movie by having the attitude that the script is finished, because if you think the script is finished, your movie is finished before the first day of shooting.
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.
Social media has taken over in America to such an extreme that to get my own kids to look back a week in their history is a miracle, let alone 100 years.
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.
In '83, not only was there no such thing as performance motion capture technology, there was no such thing as digital animation. This was the analog era.
My head's not in the clouds, but I think I've gotten too much credit for being an astute businessman.
I don't think that anybody in any war thinks of themselves as a hero. The minute anybody presumes that they are heroes, they get their boots taken away from them and buried in the sand.
Tracking action without cutting is the least jarring method of placing the audience into a real-time experience where they are the ones making the subtle choices of where and when to look.
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.
The only movie that I would ever even consider retrofitting is the first 'Jurassic Park,' which I think would look pretty spectacular in 3D. That's the only one of my films that I would consider doing in 3D.
Bloated budgets are ruining Hollywood - these pictures are squeezing all the other types of movies out of Hollywood. It's disastrous.
I've discovered I've got this preoccupation with ordinary people pursued by large forces.
I've always wanted to tell a story about Lincoln. I saw a paternal father figure; I saw someone who was completely, stubbornly committed to his ideals, to his vision.
I want to be the Cecil B. DeMille of science fiction.
I'm not really interested in making money.
I think that a movie can only be an adjunct or only a supplement to books, to different points of view, to scholars, historians and your own teachers.
Once a month the sky falls on my head, I come to and I see another movie I want to make.
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.
I am a very impatient director.
I've always been interested in UFOs.
The machinery of the democratic process is really no different today from what it was 150 years ago.
Money to me is not a factor in my life.
I think in terms of chapters. Every time I finish a movie, it's a chapter. When one of my kids graduates from school, that's a chapter.
I'd rather direct than produce. Any day. And twice on Sunday.
If Bush, as I believe, has reliable information on the fact that Saddam Hussein is making weapons of mass destruction, I cannot not support the policies of his government.
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.
When war comes, two things happen - profits go way, way up and all perishables go way, way down. There becomes a market for them.
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 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.
