When war comes, two things happen - profits go way, way up and all perishables go way, way down. There becomes a market for them.

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.

I wouldn't have filmed The Color Purple if the book had been a big fat novel. The reason I read it is because it is thin.

I don't make unconventional stories; I don't make non-linear stories. I like linear storytelling a lot.

In '83, not only was there no such thing as performance motion capture technology, there was no such thing as digital animation. This was the analog era.

I wanted to do another movie that could make us laugh and cry and feel good about the world. I wanted to do something else that could make us smile. This is a time when we need to smile more and Hollywood movies are supposed to do that for people in difficult times.

3D needs a trained eye. It can't be done by everybody. People who just do 3D just for the sake of commercializing their movie another five or six percent and they don't know really how to do it, they should care how to do it better by bringing other directors and collaborators into their lives to help teach and instruct how you really make a 3D movie because it's not just like putting a new lens on a camera and forgetting it. It takes a lot of very careful consideration. It will change your approach to where you put the cameras. So, 3D isn't for everybody.