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The thing that I'm just scared to death of is that someday I'm going to wake up and bore somebody with a film.
I always think if it's a good story, the audience can't wait to run out of the theater and go tweet somebody with the gist of a story, in a nutshell, almost, because it was that interesting.
Making a movie is like a stagecoach ride through the Old West: at first you wish for a pleasant trip, and after a while you just hope you reach your destination.
I don't think that anybody in any war thinks of themselves as a hero. The minute anybody presumes that they are heroes, they get their boots taken away from them and buried in the sand.
I'd love to build a company that will continue to make movies well beyond me someday. And I'd like to help start something great, even investing in it myself.
Once scouting fully opens its doors to all who desire the same experience that so fully enriched me as a young person, I will be happy to reconsider a role on the advisory board.
I committed to directing 'Catch Me If You Can' not because of the divorce component, but principally because Frank Abagnale did things that were the most astonishing scams I had ever heard.
I'm as guilty as anyone, because I helped to herald the digital era with Jurassic Park. But the danger is that it can be abused to the point where nothing is eye-popping any more.
There's no better way to test a person than to put them in the middle of a war. That's clearly going to show what kind of a character you're telling a story about.
Because television doesn't offer the kind of budget that a movie offers, you've got to be a little more careful where you spend the money to put the fiction in science.
I have to stay interested. I can't do the same thing over and over again, which is why I don't do - I've made sequels, but it's the movies that are not sequels that I enjoy the most.