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.

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.

All I watch is the Food Network. I took a cheesemaking class a few weeks ago, and I told my family and friends to only get me kitchen stuff on my birthday. I'm into every kind of cookbook and anything by Anthony Bourdain. I'd love to own a restaurant if I could find the right chef.

I try to give positive energy in all my shows.

When I came to America, there was a lot of decadence in New York in the early '70s because the city was bankrupt and you could do whatever you want!

When people say 'marriage' to me... It's always a means to an end. Everyone's so in a rush to define the relationship.

I don't give interviews.

I'm very confident in my sexuality, and I really don't like talking about my romantic life in the press.

I think that good parenting should allow children to be children. That naivety and slightly open way of looking at the world is very valuable.

When a woman says, 'I have nothing to wear!' what she really means is, 'There's nothing here for who I'm supposed to be today.

I like to take on the thing I don't like at the moment. I like to find something that looks wrong or feels off, something that I would never have done in the past, like brocade. And then all of a sudden, if we can make brocade work, then we've really done something, because I hate it. And that's just a reference. I don't actually hate brocade.

I'm convinced that about half of what separates the successful entrepreneurs from the non-successful ones is pure perseverance.

My style is cinematic; it is a touch of French woman of the '60s and American hippie with a Brooklyn edge. I love wearing wide-brim hats, newsboy caps, mini dresses and sheer blouses with details.

Its just that I dont want to be somebodys crush. If somebody likes me I want them to like the real me not what they think I am. And I dont want them to carry it around inside. I want them to show me so I can feel it too.

The price of corn will naturally rise with the difficulty of producing the last portions of it.

No matter who is watching or paying the paycheck, we are ultimately each our own boss.

Since the late 19th century, the median age of first marriage for women had fluctuated between 20 and 22. This had been the shape, pattern and definition of female life.

I don't want to be typecast as the 'ambient guy' or someone who only does electronic scores. I think most of the work that comes my way is because people feel they know me musically.

Your impact on the world is significant whether or not you are aware of it, and even whether or not you desire it.

When I see films made from books, I make a huge effort not to remember the book. It's important to see the film as a film.

There's two times of year for me: Football season, and waiting for football season.

Many times you walk into a room and people have already made up their minds. But it's always good to have something great associated with you.

For me, the most attractive thing in a man is the ability to make me laugh.

A craftsman pulled a reed from the reedbed cut holes in it and called it a human being. Since then its been wailing a tender agony of parting never mentioning the skill that gave it life as a flute.

Planned obsolescence is not really a new concept. God used it with people.

A rose is the visible result of an infinitude of complicated goings on in the bosom of the earth and in the air above, and similarly a work of art is the product of strange activities in the human mind.