I think we continually need to understand how important an event the war was - how defining, how central to who we are. Everything that came before it led up to it, and everything of importance to this country - at least up to 1940 - was a consequence of it. Even now there's an echo of the war, however faint, in almost everyone's life.

I think my expectations for myself are much more severe and much more direct. You can't work on a film for six years without being your own toughest critic. So you can't really be distracted by the expectations based on your previous performance.

I have come to the realization that history is not a fixed thing, a collection of precise dates, facts and events (even cogent commencement quotes) that add up to a quantifiable, certain, confidently known, truth. It is a mysterious and malleable thing.

To say that an artist sells out means that an artist is making a conscious choice to compromise his music, to to weaken his music for the sake of commercial gain.

I record all of my music with authentic instruments in a studio before we start editing, doing many, many versions. The music shapes the film as we edit so it has an organic relationship to the content.

I enjoy total creative control right now. Nobody tells me to make it longer, shorter, better, sexier, more violent, whatever.

The reason why you do history, and particularly why you do war, is that you want to make sure that in the next war, some lessons were learned. There's a saying: "History doesn't repeat itself, but it does rhyme." Or Ecclesiastes: "What has been will be again. What has been done will be done again." Human nature always superimposes itself - its strength and its frailty over the rush of chaos of ongoing events - and we can perceive patterns and themes and motifs.