This was in '79. I got pretty restless there, sitting around with a lot of people sitting around smoking cigarettes and talking about films, but nobody really doing anything.

You want to do something that shows some type individuality and talent and imagination - at the same time, you want to be truthful to the predecessors, because obviously the audience liked something about them and you have to replicate that experience to a certain extent.

Eventually, in '84, we made a film for a little over a million dollars - with American actors that was shot in English - that was shown in Finland A little action film called Born American.

I became a real Shell Motor Oil expert, and I did this 25-minute film. It turned out really well and, as a result, they offered me more work and lots of commercials to direct.

I was making films when I was about 12 years old - Super-8 films.

Several times we were stranded in strange places without any money and with our credit cards cancelled - trapped in a hotel that we couldn't check out of because we had no money to check out.

This was in '79. I got pretty restless there, sitting around with a lot of people sitting around smoking cigarettes and talking about films, but nobody really doing anything.

Ford Fairlane was one of those movies that was so much fun to make that it was bound not to be a big hit.

My very, very first professional job was when I was 19 years old - I got a job doing an educational industrial film on Shell Motor Oil's oil products. I really put my heart into it - I wrote a script for it, I did a lot of research.

I think the reason why we were able to actually get it made was that we were so extremely naive - we had no experience at all here. We didn't even know that you were supposed to have an agent. We didn't even have a lawyer. We didn't know one soul.

What I learned most was how to tell a story in 15 seconds or 30 seconds or 60 seconds - to have some kind of goal of what to try to do and make it happen in that time.

At that point, the movie was called Wild Force. Everything fell apart, eventually - our financing completely fell apart - and we were never able to make that film.

A government institution called the Finnish Film Foundation funds filmmaking there, and I wrote several screenplays but never got any money. They were sent back to me, and they said that they were too commercial for them.

I loved movies and went to see every movie I could in Finland.

In Finland, getting a university degree is the first thing that you expect your kids to do.

Eventually I did that, but it took a lot of twists and turns, and there were a year or two there where I was living with no money at all - no home, no car, no nothing. I was living in somebody's garage in Los Angeles at that point - for a year.

I loved cutting together simple commercials about margarine or soft drinks - all kinds of silly products - but I tried to make the commercials different.

You just never give up, no matter how hard the challenges are, and observe this world with a healthy dose of criticism and don't just follow the herd like somebody else might do.

Actually, it was first a movie called Gale Force, which was a hurricane movie. That script never came together, and then the same deal was replaced with Cliffhanger.

I decided that, somehow, I had to get out of there and go to Hollywood. I had never been to America.

I've continued to always keep in mind having a healthy does of that in Hollywood, now that I am part of the system and obviously have to follow the way the system works - you still have to have that crazy determination.

I did some film reviews for small papers in Finland and things like that to be able to keep living here.

It proved to be pretty impossible to get funds for a feature film in Finland. It's still small, but the film industry was miniscule at that point in the early '80s.

There were a lot of people dreaming about making films, and they would finance maybe 6 films a year. Because they were funded by the government, the films sort-of had to deal with serious social issues - and, as a result, nobody went to see those films.

I learned a lot about how to shoot and how to put together sequences.

I went out to some advertising agencies and asked if I could do anything.

There is no executive order; there is no law that can require the American people to form a national community. This we must do as individuals and if we do it as individuals, there is no President of the United States who can veto that decision.

Young people discovering their sexuality must know they walk with a strong tradition and that they are not alone. They have a right to information without being pressured.

Many are needed to plant and water what has been planted now that the faith has spread so far and there are so many people... No matter who plants or waters, God gives no harvest unless what is planted is the faith of Peter and unless he agrees to his teachings.

DJs and people in the street know what they like.

People who keep stiff upper lips find that it's damn hard to smile.

Some people are directors and I think they should stay behind the camera.

We dominated Survivor - there is no way we would not dominate that, too. I can see it already, us making deals with people. That's the best part, and with the Race, it would be even more fun because I've got a lot of tricks up my sleeve.

I'm getting a wider circle of fans now. More women, more middle class people.

We must support initiatives that provide clear, concrete measures and milestones that our troops need for defeating the insurgency, building up Iraqi security forces, and handing over Iraq to the Iraqi people.

Yeah, that's what kind of, we get the idea a little bit yeah, because other people from different countries also try as hard as they can to get a medal or a gold medal in the Olympic Games. And you know, if they can work hard, we can work hard as well.

Well concerning the world records that I did, I think it helps a lot to me, yeah. I think it's a very individual thing because I heard some people say, like, oh I don't like it at all. But I definitely, for me it really made a big difference.

My goal is, of course, for this show to do well, and I would love it if people liked it.

I hate wasting people's time.

Religions get lost as people do.

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.

The people of England are the most enthusiastic in the world.

The avantgarde are people who don't exactly know where they want to go, but are the first to get there.

My theory is if you have a religion, it's a good one. Because some people don't have any at all.

It's sometimes shocking to find out what people really believe in.

That's Tommy, this great producer who comes in contact with people and must have a mental library of personnel who are great for this and great for that, and he brought this whole group of musicians to the project that I'd never worked with before.

Rock and rollers can get you the youth buzz, and younger people are fanatical readers.

Sitting at home the way I do, I'd just love the hear from people. It'd be a great help in passing the time.

I guess I strike people as very serious, or very intense.