And so, the challenging thing, ... is that you're going to have to change things in drama, of course. Either that, or you're doing a phone book. But at the same time, they have to mean the same thing. ... You can't take creative license as a license to be untruthful.

The EU has made an extremely bold offer on agriculture. It's ridiculous to claim this isn't a serious offer. We need the other countries also to show a willingness to move; this isn't a one-way street.

A 65-ft.-wide screen and 500 people reacting to the movie, there is nothing like that experience.

As filmmakers, we want the audience to have the most complete experience they can. For example, I interviewed Stanley Kubrick years ago around the time of '2001: A Space Odyssey.' I was going to see the film that night in London, and he insisted I sit in one of four seats in the theater for the best view or not watch the film.

HBO is not an advertiser-based model, it's a subscription model. So what's significant to HBO is not necessarily the debut of an episode, it's the cumulative numbers.

Horses have really distinct personalities, and they're magical in many ways.

By the time I was 21, I knew what I wanted to do, and that was to direct films.

I realized horses have personality when I bought one and I had one, who's now out to pasture, a horse named Drifter. Before that, I was a city boy. Horses, I used to go out to the LaBagh Woods and ride at a stable once every two years or something; no idea about horses. Dogs, I knew, had personalities, but not horses.

I relate more to the fact that 80-inch plasma has just started to become ubiquitous and in people's homes the fairly decent 5.1 sound system and the big screen isn't that out of reach.

In 'The Insider,' I had violence - lethal, life-taking aggression - all happening psychologically, all with people talking to other people.