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Why is every great children's story about a journey? Maybe that's because we are always on one.
You have to listen to the movie while you're making it. I think that's important.
I mean, the wonderful thing about writing a book is that you're getting a finished product at the end of the day. You're communicating directly with the reader.
I tend to love actors. I was trained as an actor first so I'm drawn to actors.
There's nothing I'd rather do than sort of, you know, sit at my computer and rhyme.
Horseracing already has the highest mortality rate of any sport in the world per capita to the people who do it. If you crash in Nascar you still have a roll bar, and a cage, and a lot of protection. It's built to crash, but if you fall off a racehorse we all know what can happen, so it's tremendously dangerous.
I mean, in 'Big' and 'Pleasantville,' it's a journey that the characters go on where I think they come to kind of meet themselves at the end and who they actually are and give full voice to who they actually are. And that, you know, obviously fascinates me for some reason. Maybe I didn't adequately grow up.
You can't tell your kids to read if you're just watching television. They have to see you read. And in that respect, I think it's important to walk the walk. It's a wonderful shared time.
Obviously I love 'The Godfather' movies. I think they're phenomenal.
Family entertainment is really very necessary in our culture. Look how profitable they are. It's almost not discretionary. You need to take your family to the movies.
I think movies do play a valuable role in turning people on to the act of reading. I think that phenomenon just creates readers. At first they're going to love 'Harry Potter,' or they may love 'The Hunger Games,' but after that, they're going to love the act of reading and wonder, 'What else can I read?'
I wasn't going to make a slick, glossy over-produced piece of entertainment because then I would be doing what the Capitol did. Then I'm actually putting on the Hunger Games and not making a movie of the 'Hunger Games.'
My '50s were different than other people's '50s. The myth didn't permeate our world, 'Donna Reed' and all that. I longed for that, I wanted to be like other normal families on TV.
We repress the things we're scared of, but if we just look at and embrace the things we're scared of, it's a much fuller, richer life that's also not as scary.
It's interesting - in 'Fail Safe,' as well, they didn't back off. We were raised with kind of this spectrum of that Armageddon and lived under it, so those were probably the films. 'Fail Safe' sort of haunted me.
Now, I just made an animated movie a few years ago, 'The Tale of Desperaux', and that had twelve hundred shots in it. Twelve hundred CG shots is a pretty big plan.
There's something so wonderful about writing in rhyme where it isn't just the meaning of the words, it's the music to the words and the shape and the sound.
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A single twig breaks, but the bundle of twigs is strong.
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