A lot of directors don't want the pressure of a movie the size of Pearl Harbor. But I love it. I thrive on it.

When you're fast when you're shooting, there are great things that you discover. By being fast you also sometimes get more time to experiment.

We don't make movies for critics. I've done four movies; there's millions upon millions upon millions of people who've paid to see them. Somebody likes them. My greatest joy is to sit anonymously in a dark theater and watch it with an audience, a paying audience.

Do you know what directors go through? It's just hell. Like, why do I work so hard - to think I'm only going to see this movie five times and then never see it again 'cause I'm so sick of it? What is it worth, honestly?

Everybody knows about Pearl Harbor. The thing that really fascinated me is that through this tragedy there was this amazing American heroism.

You get the most 3D effect when it starts about three to four seconds, that's when it starts feeling 3D. And then what you do, quick shots are always flat.

Hollywood has to start finding more original stuff They've got to start by not depending on, 'What can we churn back out? How can we regurgitate this?' That's why I want to redo the feel of Transformers. That's why I wanted to start with a new cast. You want it to feel fresh, and you want to make it feel different than the other three.