I wanted Yoda to be the traditional kind of character you find in fairy tales and mythology. And that character is usually a frog or a wizened old man on the side of the road. The hero is going down the road and meets this poor and insignificant person. The goal or lesson is for the hero to learn to respect everybody and to pay attention to the poorest person because that's where the key to his success will be.

Changes are not unusual - I mean, most movies, when they release them, they make changes. But somehow, when I make the slightest change, everybody thinks it's the end of the world.

One of the basic motifs in fairy tales is that you find the poor and unfortunate along the side of the road, and when they beg for help, if you give it to them, you end up succeeding. If you don't give it to them, you end up being turned into a frog or something. It's something that's been around for thousands of years, a concept that's been around for thousands of years.

Most artists, most painters, even composers would want to come back and redo their work. They've got a new perspective on it, they've got more resources, they have better technology, and they can fix or finish the things that were never done.

I'm aware that dialogue isn't my strength. I use it as a device. I don't particularly like dialogue which is part of the problem.

A special effect is a tool, a means of telling a story. A special effect without a story is a pretty boring thing.

A movie is never finished, only abandoned.