When I was about fifteen, I went to work at Yosemite National Park. It changed me forever. Nature had carved its own sculpture, and I was part of it, not the other way around.

The big moment for me was making 'All the President's Men'. It was not about Watergate or President Nixon. I wanted to focus on something I thought not many people knew about: How do journalists get the story?

Between 18 and 19 years old [in the 1950s] I came to Paris. I studied art. And that experience really did change my life. I was living hand to mouth. I walked everywhere. I thought, this city is incredible but you really have to experience it by walking it.

The technology available for film-making now is incredible, but I am a big believer that it's all in the story.

Journalism has changed tremendously because of the democratization of information. Anybody can put something up on the Internet. It's harder and harder to find what the truth is.

What really matters is the work. And what matters to me is doing the work. I'm not looking at the back end: "What am I going to get out of this? What's going to be the reward?" I'm just looking at the work, the pleasure of being able to do the work. And that's what the fun is: To climb up the mountain is the fun, not standing at the top. There's nowhere to go. But climbing up, that struggle, that to me is where the fun is. That to me is the thrill. But once that's over, that's kind of it. I don't look too much beyond that.

Other people have analysis. I have Utah.