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.

I have made almost as many films in England as I have in America. I will come back to England again and again.

I really trust the authenticity of real people and my job is to get them to be themselves in front of the camera. Often what happens is, you'll get a newcomer in front of the camera and they'll freeze up or they imitate actors or other performances that they've admired and so they stop becoming themselves. And so my job as the director is just to always return them to what I first saw in them, which was simply an uncensored human being.

I think every movie I've made after 'Indiana Jones,' I've tried to make every single movie as if it was made by a different director, because I'm very conscious of not wanting to impose a consistent style on subject matter that is not necessarily suited to that style. So I try to re-invent my own eye every time I tackle a new subject.

I've always been very hopeful which I guess isn't strange coming from me. I don't want to call myself an optimist. I want to say that I've always been full of hope. I've never lost that. I have a lot of hope for this country and for the entire world. . .

There's no better way to test a person than to put them in the middle of a war. That's clearly going to show what kind of a character you're telling a story about.

I go out and look for a good story to tell and if I like it enough and I decide to direct it, I become dangerously involved in becoming a part of that story.