I've always been fascinated by Picasso and how he would look at a single image through multiple perspectives and from separate moments in time. He would look at a woman's face and he would see almost a three-dimensional look even though it was a flat canvas. I thought, well why couldn't we do the same thing with a football play?

When we started NFL Films, there were no focus groups, there were no demographic studies, there were no surveys. Every decision that we made, we made with our hearts, not with our heads. And, in the very beginning, we really didn't even have a business plan.

If there's one thing I can't stand, it's not being noticed.

Lombardi, a certain magic still lingers in the very name. It speaks of duels in the snow and November mud He remains for many the heart of pro football, pumping hard right now.

I have loved football as an almost mythic game since I was in the fourth grade. To me, the game wasn't even grounded in reality. The uniform turned you into a warrior. Being on a team, the mythology of physical combat, the struggle against the elements, the narrative of the game.

When my father bid $5,000 for the 1962 Championship Game, that was a huge amount. It was double the bid the year before. Pete Rozelle was flabbergasted. Who was this guy who was willing to spend so much money on what seemed like relatively worthless rights to the NFL Championship Game?

I've always believed in making films that you make the little decisions with your head, but you make the big decisions with your heart.