I am a very impatient director.

I committed to directing 'Catch Me If You Can' not because of the divorce component, but principally because Frank Abagnale did things that were the most astonishing scams I had ever heard.

Documentaries are the first line of education, and the second line of education is dramatization, such as 'The Pacific'.

Movies become living organisms that graduate from a filmmaker's sphere of influence and pretty much look back and tell you how they need to be said goodbye to. A movie often turns around and looks at you and says, "Here is who I am, and that's maybe now how you see me, but that's who I've become." And you've got to be open enough to go with that.

I have never before, in my long and eclectic career, been gifted with such an abundance of natural beauty as I experienced filming 'War Horse' on Dartmoor.

The delicate balance of mentoring someone is not creating them in your own image, but giving them the opportunity to create themselves.

Audience members are only concerned about the story, the concept, the bells and whistles and the noise that a popular film starts to make even before it's popular. So audiences will not be drawn to the technology; they'll be drawn to the story. And I hope it always remains that way.