Console game publishing has become more like theatrical release film-making and it is very hard if you are not one of the major publishers, and even for them it is hard unless they are working with major game brands.

So the guy that we're really targeting our system at this year is one of the guys who brought a 16bit system three or four years ago and has pretty much had it with that, and he's ready to buy something new.

What that means initially is that you have alot of products that are only slightly better games in the same genre on another machine - and the titles that really take advantage of the machine come along later.

But any big change is more likely to result if there is a disruptive event such as new technologies or platforms that have a surprising effect on market share.

We also had good software in the key categories and more focus on the gameplaying capability, so more of the marketing effort was targeted at game customers.

I can't tell you how important it was for us to be successful in japan.

None of our competitors have ever made two systems that run the same software.

We'll look at the japanese launch as a model and aspire to have things go as well as they did over there.

Digital Chocolate has 60% of its developers in Finland where the sun never sets in the summer and there is nothing to do outside in the winter, so we are very productive!

The way companies hang on to their marketshare is by being scared.

There's a basic principle about consumer electronics: it gets more powerful all the time and it gets cheaper all the time. that's true of all types of consumer electronics.

From day one our next generation system will run all our exsisting software - so that gives us a head start.

I'm not saying that more performance wouldn't be better - all these technologies are going to get better - that's the difference between first generation and second generation.

But we also think that we've got more quite alot more support than any new format has ever had.

And initially, a lot of companies avoid trying to make a really radical new kind of title for a new system, because that would involve learning a new machine and learning how to make the new title at the same time.

Console game publishing has become more like theatrical release film-making and it is very hard if you are not one of the major publishers, and even for them it is hard unless they are working with major game brands.

As a result, we will continue to see more innovation on the Internet and on mobile phones than on consoles.

The only problem we've had is the amount of time it's taking people to develop titles.

With our next generation hardware, polygon rendering will probably be an area we'll get more heavily into.

We want to make as big a market as we can with our current product.

Online console gaming will continue to grow at a healthy pace.

If you always wanted to wait for something better, you'd never buy anything, right?

My best film composing experience was with Elia Kazan.

I was lucky enough to occasionally break out of that racist situation that prevails in the Hollywood film production community. But it was racist then and it will always be that way. It will never be otherwise.

'Batman' took 10 months to film, and by the time I stopped working on it, it took a long time before my English accent came out again. I was actually having to try for it.

Luck is everything... My good luck in life was to be a really frightened person. I'm fortunate to be a coward, to have a low threshold of fear, because a hero couldn't make a good suspense film.

I still feel that a movie has to attempt to say something - even if it fails miserably. But I've sort of given up on believing that I'm going to change the world with every film I choose to act in.

It's the difficulty we had with Mr. Bean, actually, when it went from TV to film. You certainly discover that you need to explain more about a character.

To make a documentary is one thing, to make a feature film is quite another.

I mean when the play was on in New York I was starting to get film offers coming through, and since the film's come out I get offered more than I used to, but it happens incrementally.

I think it would be very boring dramatically to have a film where everybody was a lawyer or doctor and had no faults. To me, the most important thing is to be truthful.

I like doing them and they're ridiculous and the actors can improvise a lot, and they don't have to be really realistic characters that hit a very specific tone as in a feature film. They're really fun, I want to make more of them definitely.

One of the most interesting aspects of the film project was collaborating with so many people - directors, filmmakers, and writers - over a five-year period. I learned that there are two components to this.

The best thing I can think of would be to create a union between something as beautiful and powerful and wonderful as Hollywood films and a criticism of the status quo. That's my dream, to make such a German film.

If he didn't fall in love he would have never come back near the end of the film. Because, what man is going to dishonor himself so that he comes back in front of the man that took a woman away from him... and warns her to save her life?

Robert Altman's Nashville is my all-time favorite film because it covers all the bases - it's original, moving, and has something to say, but also funny and incredibly entertaining.

I never see a novel as a film while I'm writing it. Mostly because novels and films are so different, and I'm such an internal novelist.

I have a movie coming out called Spun, which will be at the Toronto Film Fest.

Well ironically my last three roles have all been a mother. One was a Canadian film where the baby was taken away because she is a drug addict, in Irish Jam I play a mother to a four year old. I think in the future I'll be able to handle the role with a lot more depth.

And when you see it the first time you put the film together, the roughest cut, is when you want to go home and open up your veins and get in a warm tub and just go away. And then it gradually, maybe, works its way back, somewhere toward that spot you were at before.

A good film script should be able to do completely without dialogue.

My advice to young film-makers is this: don't follow trends, start them!

The whole aspect of cinema and film festivals should be a moment to come together and celebrate art and humanity. It would be a shame if there was such a divide.

It's really rare for film directors to be that interested in things other than themselves.

When I said I was going to audition for a film, I got a hearty laugh from all my family.

I don't think any actor feels comfortable watching themselves in movies. You must be very narcissistic. The problem with your own opinion of yourself is that contrary to the normal spectators, when you watch a film you are in, you only watch yourself.

We're making a commercial Hindi film catering to all types of audiences.

They all matter to me, whether I'm working on a Sam Jackson film for a week or I'm the star of my own TV series - I take it all very seriously, and I have a healthy respect for the work in general, despite the role.

There are no black film composers doing the likes of Star Wars, doing the likes of E.T., doing the likes of Jurassic Park. There are none, nor will there ever be one. That ain't about to happen!