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You can't put a title card at the head of the movie and say, "Well, we really had a bad problem. You know, the actor got sick and it rained this day and we had a hurricane."
You have to have a thick enough skin to cope with the criticism. I'm very self-critical and I have a lot of friends that I trust who are film directors and writers and people in my profession.
Although I write screenplays, I don't think I'm a very good writer. I'm very interested in studying cultures and social issues, but as an academic I don't think I would have been too successful.
Learning to make films is very easy. Learning what to make films about is very hard. What you’ve really got to do is focus on learning as much about life, and about various aspects of it first.
Because we [people] have an intellect, part of what we do is try to understand the "intelligent design." Everything we don't know is "intelligent design." Everything we do know is science.
I'd be the first person to say I can't write dialogue. My dialogue is very utilitarian and is designed to move things forward. I'm not Shakespeare. It's not designed to be poetic.
I've come to the conclusion that mythology is really a form of archaeological psychology. Mythology gives you a sense of what a people believes, what they fear.
There should be a point to movies. Sure, you're giving people a diversion from the cold world for a bit, but at the same time, you pass on some facts and rules and maybe a little bit of wisdom.
I've never been that much of a money guy. I'm more of a film guy, and most of the money I've made is in defense of trying to keep creative control of my movies.
The way I define 'intelligent design' is that when people started out, we wanted to make sense of the world we lived in, so we created stories about how things worked.
All art is dependent on technology because it's a human endeavour, so even when you're using charcoal on a wall or designed the proscenium arch, that's technology.