Directing is a constant test of your communicative powers. You're constantly trying to explain people your vision of what you want and steer these tiny little details into a cohesive thing.

The easiest thing to do is to rag on the media, because it isn't doing a very good job right now. It is so much easier to profit from celebrating the worst aspects of ourselves. Acting strikes me as the antithesis of that. We can examine the worst aspects of ourselves, but we don't have to celebrate them.

The desert, when the sun comes up...I couldn't tell where heaven stopped and the Earth began.

I start at square one with every role. If I let myself feel pressure, it would crush me. The truth is that everyone pays attention to who's number one at the box office. And none of it matters, because the only thing that really exists is the connection the audience has with a movie. Sometimes that's a palpable thing, but other times it's not. No actor has control of that. All you can control is your own passion for doing the work in the first place.

The year I was born, 1956, was the peak year for babies being born, and there are more people essentially our age than anybody else. We could crush these new generations if we decided too.

What we're doing with Band of Brothers is trying to put it into human terms, so it is not just a flickering, black and white myth on a screen, it is a resonant story. I want the audience to recognize themselves in these men. They're not just mythic heroes.

I am a lay historian by nature. I seek out an empirical reflection of what truth is. I sort of want dates and motivations and I want the whole story. But I've always felt, unconsciously, that all human history is that connection from person to person to person, event to event to event, and from idea to idea.