I love my kids as individuals, not as a herd, and I do have a herd of children: I have seven kids.

I interviewed survivors, I went to Poland, saw the cities and spent time with the people and spoke to the Jews who had come back to Poland after the war and talked about why they had come back.

Television has a different biorhythm than movies. I love the biorhythm of TV.

Whatever affect any of my films have on audiences, I just kind of stop at the door. I make them and I just don't go outside after they're over.

I've kept the people who've been in my career who I feel are my family. Kathy [Kennedy] had been with me since 1978. Janusz Kaminsky, my cinematographer, has made every movie with me since Schindler's List. Michael Kahn has cut every movie I've directed since 1976 when we made Close Encounters together. Rick Carter has done more than 15 of my directed films as a production designer.

Because of how much movies cost, it's dangerous to be experimental on one film after the other. But we can experiment with television. We can do things that are fringe and bring ideas to the table that are offbeat and original.

The creative process is a very collaborative process. I know it might seem that way because so much ink is spilled and the media is obsessed with business and numbers and studios... but filmmakers don't think of it that way. We just go off and we tell our stories. It's the same torture that we adore, it's the same torture that our forefathers endured making movies in the golden era of Hollywood. So, from my perspective it's no different, I'm sure, from the men and women who I admire so much who made the earliest movies.