I think it's better to feel good than to look good.

Reading a script is usually as exciting as reading a boilerplate legal document, so when you read one that makes you feel as if you're seeing the movie, you know it's something different.

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

The "Toy Story" films accomplish what timeless classics aim for - innocent characters who face an endless trail of adventures.

Audiences crave something they've never seen before. That's what they want. They want to be dazzled. They want to go in either to have their expectations blown out of the water, or have no expectations and are dazzled by the decisions that we filmmakers made.

I've made quite a number of movies like Castaway and a few others where I'm the only guy in the movie and the only place to be is right next to the camera in costume ready to go in order to get it. The years, and more specifically probably the four months prior to beginning shooting, is where the big preparation is that the director does because I knew we were going to get on the set. And the good news is, if you're the boss, if it ain't good, you don't use it. You just cut it out.

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.