I thought it was too wacky for the general public. On his original opinion of his movie's chances for success, 1997.

I wanted to transfer to an art school, and ended up going to the University of Southern California. They had a cinematography school, and I said "Well, that's sort of like photography, maybe that will be interesting." And once I started in that department, I found what it was that I loved and was good at.

There are a few critics overseas, and occasionally a critic will write an astute analysis of the movie. There is value in reading critics that actually have something intelligent to say, but the journalistic community lives in a world of sound bites and literary commerce: selling newspapers, selling books, and they do that simply by trashing things. They don't criticize or analyze them. They simply trash them for the sake of a headline, or to shock people to get them to buy whatever it is they're selling.

After a lot of struggling and sort of reflection I realized that the time you have to give is now, regardless of how old you are.

I have a strong feeling about interesting people in space exploration. . . . And the only way it's going to happen is to have some kid fantasize about getting his ray gun, jumping into his spaceship, and flying into outer space.

Sound is 50 percent of the movie going experience, and I've always believed audiences are moved and excited by what they hear in my movies at least as much as by what they see.

I don't ever see movies by myself. I always see them with other people because I want to know what works. I want to know where they laugh. I want to know where they don't laugh. I want to know what they think about it afterwards because in the end that's what the art that I'm working with is.