To me the biggest breakthrough was when we did Terminator 2 that just opened the door for Jurassic and all of the others and that was as big as when we did motion control on Star Wars. But I don't see another big thing coming.

I have never had trouble with any actor being able to visualise things. They are amazing. As long as you have your monster head on a long stick, so you can hold it up there and you can wave it around and let them see it and explain it to them, they are just great.

And I also trust that there's more than one way to do something.

Yes, if I had it my way I would do all the shots myself - I used to do that when I was just a cameraman, an operator - but there's no way; you can't do that anymore.

Just going along with this, what I did, or what I do is I imagine not being myself seeing it, but imagine somebody else who's seeing it for the first time.

I just focus on one show, when this is over then I'll start looking at what is coming up.

And it's very hard to do this stuff too because there are so many effects movies being done, so many companies busy doing this work and the public just wants to see it. Good work is being done all over the world.

I'm always reaching for something we really haven't done, and War of the Worlds has a lot of this sort of documentary look to it and first-person camera view that is a new thing for me. I've done some stuff like that before, but nothing like the extent of this and digitally.

What you want to do is, you want to get away from people being afraid to show their work, which is the first thing, because they don't want to be shot down.

Steven and I have worked together a lot and I'm far ahead of the curve than most people in knowing what he wants, but he knows far more than I know about what's important for the story. So, most of the changes he will make will involve story changes.

So much of it is the design of the shot or the motion of the character; it's the work you do so that it has the same things that are in the movie. In just a few frames it's got to communicate something clearly and dramatically.

I think you've got to talk to the director, see the director's films and recognise that it's important that the work fits right in and see if as part of the movie.

I see the tool set being the same and maybe doing virtual movies and that's fine for some stories but not for others. And maybe make all CG movies but they are already doing it.

But you don't hire Ang Lee to do a typical children's movie. But it's such an interesting combination, whoever thought of getting Ang together with a comic book, that was just great.

Because you're telling a story, and I'm sure people fifty years ago would tell the same story differently if they were telling it to you today. Because the time is different. The film is the work of today's audience.

It's harder for me to work on a Forrest Gump kind of movie, where everything is invisible.

Everyone is trying to do something that hasn't been done and that's a really good thing. You can only do so much with a story and some scripts don't give you the opportunities and other scripts do give you the opportunities to do things that haven't been done before.

You know a lot of what worked on this was taken from Harry Potter 2, the little Doby character, we had a lot of our skin stuff worked out and that helped a lot. We have a lot of exchange happening.

To me the biggest breakthrough was when we did Terminator 2 that just opened the door for Jurassic and all of the others and that was as big as when we did motion control on Star Wars. But I don't see another big thing coming.

And then you start getting into the technical side of it and the aesthetic side and with those areas you can come up with new ways to visualise things, new ways to render and use the computer to make things look different and new and stuff like that.

Other times you can get showy for three minutes, and that's OK with certain films. But that isn't right with an Ang Lee movie, you have to fit right in. You have to understand Ang, respect him and be part of the team and not be in charge of it - he is in charge of it.

I've done enough of this that I can tell early on if it's going in the wrong direction or not.

I took business classes as a back up but I made movies all the time. I would get my classes done in two days and then spend the rest of the time making my movies.

I also do not like the idea of soft money, these issue ads - people don't know where the money is coming from, millions and millions of dollars outside of the control of a candidate - there's no accountability.

George Pal had total control, and he was there on the set every day. You never met a more charming man in your entire lifetime - what a lovely gentleman.

This means that to entrust to science - or to deliberate control according to scientific principles - more than scientific method can achieve may have deplorable effects.

In a theater, the part is mine and I can control it as I want to. In the movies, I don't have direct contact, and I am fighting technical machinery.

Plan Colombia was supposed to reduce Colombia's cultivation and distribution of drugs by 50 percent, but 6 years and $4.7 billion later, the drug control results are meager at best.

Control of vibrato helps your musical expression.

Is anarchism desirable? Well, who does not seek freedom? What man, unless willing to declare himself in bondage, would care to call any control agreeable? Think about it!

The transfer is a monumental occasion as the Iraqi people take control of their government and their future and forge ahead with creating a society governed by the tenets of life, liberty and freedom.

Let's say there are 500 sons and daughters like you in each state. Then we could control the government.

Until the control of the issue of currency and credit is restored to government and recognized as its most conspicuous and sacred responsibility, all talks of the sovereignty of Parliament and of democracy is idle and futile.

This is an album of songs that I've always loved, tunes that I heard. For the first time in 53 years of recording, I really had control over an entire album, start to finish.

I love making people laugh. It's an addiction and it's probably dysfunctional, but I am addicted to it and there's no greater pleasure for me than sitting in a theater and feeling a lot of people losing control of themselves.

It's frustrating not to have more control over your material.

This is the law of God by which He makes His way known to man and is paramount to all human control.

I'm very excited to see where the characters and their relationships go. But in the end, it really boils down to the people who have more power than me, who control the money.

Anger is a momentary madness, so control your passion or it will control you.

But in a broader sense, when I have more control, I want to expose people to new ideas.

My definition of success is control.

Even Hitchcock liked to think of himself as a puppeteer who was manipulating the strings of his audience and making them jump. He liked to think he had that kind of control.

For me concrete poetry was a particular way of using language which came out of a particular feeling, and I don't have control over whether this feeling is in me or not.

My power is the ability to control water molecules and form them into ice.

Professional sports are something they can't control.

Control thy passions lest they take vengence on thee.

Only one thing is certain: if pot is legalized, it won't be for our benefit but for the authorities. To have it legalized will also be to lose control of it.

And if thought and emotion can persist in this way so long after the brain that sent them forth has crumpled into dust, how vitally important it must be to control their very birth in the heart, and guard them with the keenest possible restraint.

I smuggled the camera, it was no problem to smuggle the camera there. And I took 60 photos, two films, during the time when there was no one in the control room, in the building.