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.

I do believe that our modern English usage has become way too clipped and austere. I have been reading excerpts from the journals of 18th-century seafarers lately, and even the lowliest press-ganged deck-swabber turns a finer phrase than I do most days.

My gut tells me and continues to tell me that the Conservative party is on a road back to government.

Race, to me, is a very blurry thing.

Knowledge is power. Information is power. The secreting or hoarding of knowledge or information may be an act of tyranny camouflaged as humility.

My ancestors are Rajputs from Jaipur, a lineage of the royal family.

I like the way I look in a suit, and I wish I owned more. Actually, I wish I owned suits that fit me, I should say. You can buy off the rack and think, 'Oh, this is perfect.' But then you get a tailor-made suit for you, and it's a whole different animal. You don't just look good in a suit, you feel good in a suit.

The future is a split second away.

On the Internet, it is assumed people are in business to sell out, not to build something they can pass along to their grandkids.

I say grace. I'm a big believer in grace. I happen to believe in a God that made all the food and so I'm pretty grateful for that and I thank him for that. But I'm also thankful for the people that put the food on the table.

But the issue of sexual harassment is not the end of it. There are other issues - political issues, gender issues - that people need to be educated about.

Its always really surreal, being on a film set, but inside a beautiful, massive scene.

Whether you're writing a horror show or a James Bond film, I think what bubbles beneath is interesting characterization. The colors that emerge through storytelling is what a dramatist does. There's always got to be something bubbling underneath that will erupt at some point.

It is not time for mirth and laughter, the cold, gray dawn of the morning after.

For a long time I wanted to be a comic strip artist but when I started doing them in my teens they were getting really elaborate with tons of poses and a lot of information.

In leaving New York in 1957, I did leave without regret the literary demimonde of agents and would-be's and with-it nonparticipants; this world seemed unnutritious and interfering.

I may not look it when I'm playing, but I think I'm a fun guy to hang with when I'm relaxing.

I thought I was going to make crazy cartoons for the rest of my life. I didn't think I'd ever get paid for it, didn't think I drew well enough, but I knew it made me happy.

As a developing country, China needs a favorable neighbouring and international environment for its modernisation.

I'm always going to support the LGBT community and equal rights for the LGBT community.

It's an experience I'd like to add to the chorus, that these blue-collar, macho men, like my older brother, had the capacity to say: 'I don't care, I love you anyway.' There are young kids thinking: 'I'll never come out because it's too hard in our communities.' But I'm saying maybe your story can be similar to mine.

I'm always drawn towards the darker stuff, because I think it's just a lot more interesting. But it's also good fun doing the comedy, and I think that's why 'Misfits' has been great in that way, as you get a really good balance. I think it's best to try and do everything as an actor, really.

I wanted to be the Dutch Bruce Jenner - that was my goal. He was my hero.

Idris Elba is a grand actor. He's very larger than life; he's bigger than life.

If anything characterizes the cultural life of the seventies in America, it is an insistence on preventing failures of communication.