If you look at romantic comedies as pieces of commerce, the audience is looking for wish fulfillment.

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.

Don’t you love New York in the fall? It makes me wanna buy school supplies. I would send you a bouquet of newly sharpened pencils if I knew your name and address. On the other hand, this not knowing has its charms.

That's what's nice about directing a film and having it done: There's nothing more I can do about it. It's done. That's it. All I can do is let it go and hope that people are kind to it.

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.

At the end of the day it's got to be a good movie, it's got to be a funny movie, and it's got to make people think, 'Hey, I couldn't have spent my time any better.'

Motion pictures are just beginning to live up to their true potential of being immersive experience - going from beyond black and white flickering images to fully immersive 3D color high-definition. You don't even know where the real world starts and the fake world begins. And yet, none of that's going to matter unless the story and the emotions that they allow us to become invested in are something that we can recognize. Pixar is able to do this in ways that almost defies speculation.