I mean, certainly it's the single biggest event, I think, in terms of popular entertainment, or art even, if you say that, of the 20th Century. It's been film. It's the 20th Century's real art form.

You know, essentially when you do a play you're reinterpreting a work of art that already exists. That's not what happens with a movie.

I mean, the truth of the matter is, I like the failures as much as I like the successes, it's only the world that doesn't like the failures.

Every film I've made has a kind of frustrated love story in the center of it. They were people who saw life from opposing points of view, which has been in every film I've ever done. It had all the ingredients of the kinds of films I like to do.

I mean, certainly writing, painting, photography, dance, architecture, there is an aspect of almost every art form that is useful and that merges into film in some way.

I'm trying to be morally responsible and no more. I don't have an agenda I'm trying to push. People talk about Three Days of the Condor as being anti-government but the last statement in that movie is the CIA guy saying to Robert Redford, "Ask 'em when they're running out. Ask 'em when there's no heat in their homes and they're cold. Ask 'em when their engines stop. Ask 'em when people who have never known hunger start going hungry. You want to know something? They won't want us to ask 'em. They'll just want us to get it for 'em!"

The very reasons sometimes that you make a film are the reasons for its failure.