The American movie, in part because America's a melting pot, the cultural hodgepodge that America makes, generates movies that have appeal across all international boundaries. And that's really not true for most domestic film industries. It's no longer true of France and Italy, less true than it used to be of the U.K.

The hardest thing about being at Sony was not the travel; it was being divorced from the public and private life I had in New York. Travelling as much as I did, while I didn't lose connection with my friends, I lost a sense of belonging.

People are going to like 3-D in their family photos.

I was very short. Everybody else was two years older in my class, and I had curly hair and was teacher's pet.

For Sony, owning a studio is a gamble and probably a pretty good one, now that in the broadband era having content is a great advantage when you sell devices that in a ubiquitous world of distribution can actually show programs, movies, content directly to the consumer. So that you actually create, in a digital world, real synergy.

The energy of the Kennedy years was completely compelling... I had a sense of a generous society eager to change the world. Idealism was very contagious. So that's why I went to America. I didn't intend to stay.

When the digital world is really here, movies can be disseminated from satellite direct to homes and direct to small theaters in Mongolia and northern Russia and obscure places that the market for movies is going to grow and grow and grow.