All of my films have been very hard to understand at the script stage because they're very different. At the time I did them they were not conventional. The executives could only think in terms of what they'd already seen. It's hard for them to think in terms of what has never been done before.

I've discovered that most critics themselves are cinematically illiterate. They don't really know much about movies. They don't know the history. They don't know the technology. They don't know anything. So for them to try to analyze it, they're lost.

All the religions are true, they just see a different part of the elephant.

On the professional side, I've helped move cinema from a chemical-based medium to a digital-based medium. That'll be one of the landmarks. And I've left these stories, these little tales that have been imprinted on the media, which will or will not be of interest to people in the future. I've done the best I can.

No! Try not. Do, or do not. There is no try.

One of the amazing things about 'Seven Samurai' is that there are a lot of characters. And considering you have so many, and they all have shaved heads, and you've got good guys and bad guys and peasants, you get to understand a lot of them without too much being said.

I intend more of a kinship with silent films than more modern film. I like the old cinema. My films are more of a hybrid - a different style of filmmaking to what I call talking head movies. Some people don't get it. Especially the more academic types.