Whatever has happened in my quest for innovation has been part of my quest for immaculate reality.

Storytelling is about two things; it's about character and plot.

I have a lot of ideas and I want to be able to work. To me, it's like one of these contests where you get five minutes in a supermarket to take anything off the shelves you want and try to fill your cart up as much as you can. That's the way I look at my work.

Never tell me the odds!

When Star Wars became a hit and I had a chance to make the other movies, I had to figure out a way to bring Ben back, but a lot of the issues he had to deal with were carried by Yoda. In a sense, I combined Yoda with the spirit of Ben. I wanted Ben to have some kind of influence, but I didn't want it to be a direct influence where he could help Luke. So Ben has managed to keep his identity after he became one with the Force. One of the things he was doing on Tatooine besides watching over Luke was learning how to keep his identity after he became part of the Force.

You want people to think. You want people to be emotionally moved. And there's a theory behind that in terms of storytelling. It has been around for thousands of years. And that's where something like live theater or a live performance is something that is very valuable because you get instant feedback from your audience and you kind of know the things that work and the things that don't work.

When my films don't work it's usually because I tried some very experimental idea. I tried new ideas and they just didn't work, as opposed to trying to do something conventional and having it be so conventional nobody wanted to see it.