My early exposure to all the leviathans of the Saturday matinee creature features inspired me, when I grew up, to make 'Jurassic Park.'

I've got a lot of examples about moments where I thought something would work on film and it didn't work, but I never came to that decision with the film half shot, where I was stuck on a runaway train and couldn't jump off. On those occasions where I have admitted defeat, that this is not going to work, I haven't embarked on that project and made that movie.

I think producers are more interested in backing concepts than directors and writers. I don't think that's the right way of making a decision about whether you're going to back a film or not.

I'm very collaborative with everybody on the set.

There's going to be no more digital enhancements or digital additions to anything based on any film I direct. I'm not going to do any corrections digitally to even wires that show... If 1941 comes on Blu-ray I'm not going to go back and take the wires out because the Blu-ray will bring the wires out that are guiding the airplane down Hollywood Blvd. At this point right now I think letting movies exist in the era, with all the flaws and all of the flourishes, is a wonderful way to mark time and mark history.

I always like to think of the audience when I am directing. Because I am the audience.

Every movie you're going to forget that it's 3D whether it's widescreen or whatever it is, you're going to forget everything if the movie is working. If the movie doesn't work or if the movie generically doesn't work then immediately you start to pick apart whatever has contributed to that.