When I write, I fall into the zone many writers, painters, musicians, athletes, and craftsmen of all sorts seem to share: In doing something I enjoy and am expert at, deliberate thought falls aside and it is all just THERE. I think of the next word no more than the composer thinks of the next note.

I believe that young people wearing hoods, unless they are very young, can be frightening. What are they hiding? Why don't they want to come out into the light with the rest of us? They may be perfectly nice, but the hoods send an uncertain statement.

We don't have a lot of class-conscious filmmaking.

We live in a box of space and time. Movies are windows in its walls. They allow us to enter other minds, not simply in the sense of identifying with the characters, although that is an important part of it, but by seeing the world as another person sees it.

The film argues to the young that the old were young once, too, and contain within them all that the young know, and more.

Samurai films, like westerns, need not be familiar genre stories. They can expand to contain stories of ethical challenges and human tragedy.

What we have here is a rousing boy's adventure story, adapted from stories that Edgar Rice Burroughs cranked out for early pulp magazines. They lacked the visceral appeal of his Tarzan stories, which inspired an estimated 89 movies; amazingly, this is the first John Carter movie, but it is intended to foster a franchise and will probably succeed.