If people recognize me when I'm out in public, I'm very nice to them. I'm very nice to people even when they don't recognize me. I don't even mind if people come up to me while I'm eating dinner, but if they recognize me while I'm having sex, I refuse to sign autographs.

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.

With the CGI, suddenly there's a thousand enemies instead of six - the army goes off into the horizon. You don't need that. The audience loses its relationship with the threat on the screen. That's something that's consistently happening and it makes these movies like video games and that's a soulless enterprise. It's all kinetics without emotion.

[Jimmy] Breslin's [write] really great book on Branch Rickey. And Branch Rickey himself wrote quite a lot. There's some film and kinescope from television.

There are a lot of different paths through the jungle, but...the simplest thing you can do is make yourself useful. Be easy to work with, be a hard worker and help people get the job done. And do it with as much passion and quality as you can.

If you're asking me to acknowledge that I've gotten older, I can do that.

There's no independent satisfaction without the success of the film itself. The feel that you have done the best you can to support the film.