I didn't realize there are generations who do not know about the origins of film.

[Kubrick] was unique in the sense that with each new film he redefined the medium and its possibilities. But he was more than just a technical innovator. Like all visionaries, he spoke the truth. And no matter how comfortable we think we are with the truth, it always comes as a profound shock when we're forced to meet it face-to-face.

You don't make pictures for Oscars.

The term 'giant' is used too often to describe artists. But in the case of Akira Kurosawa, we have one of the rare instances where the term fits.

I've been extremely lucky to work with Elmer Bernstein, Howard Shore over the years, but I've always imagined films with my own scores, because I don't come from that world or that period of filmmaking. And so how could I make up my own score on a film like this where it isn't necessarily made up of popular music from the radio or the period; it isn't necessarily classical music. But what if it's modern symphonic music?

Popular music formed the soundtrack of my life.

The most important thing is the script.