It's a wonderful opportunity to be part of a child's growing up, which is always an endless springtime. You see the blossoming and the growing and the nurturing and the payoff.

People need to see what's going on, and they have to be exposed to the mechanisms that can help make it right.

It's important not to base your ambition on anybody else's history, but to figure out how best to use your own particular personality and understanding of yourself to help tell other people's stories.

When we were making it [Star Wars], none of the effects were in. So the first time, I thought it was, you know, that - I mean, we were surrounded by English crew members that could hardly keep themselves together. They were, "Here comes the guy in the dog suit." They made fun of us, which was OK. But the first time I was sitting in a theater, and I saw all the effects in, and the big ship flew over the audience, and the sound rumbled, I pretty much thought we were close to home.

The only thing that I have done that is not mitigated by luck, diminished by good fortune, is that I persisted, and other people gave up.

The capacity to create [visual] effects in the computer has made the job easier, but it has also introduced the complexity that you can with a few more keystrokes generate such a busy canvas that the eye doesn't know where to go. You lose human scale on an event and you're just wowed by the kinetics and the visualization. But, often in those cases I feel you lose touch with the human characters and what it is that they would feel and how they might feel, and that's still the most important part.

I have the ordinary experience of being anonymous when I'm in an airplane talking to air-traffic control, and they don't know who they're talking to. I have a lot of common experiences.