When 'Apollo 13' appeared as an opportunity and I began to tackle that in as authentic a way as I possibly could, I really became enthralled by the philosophical side of space travel and why we need to explore - what it means to us here on Earth - all of those things. I became a huge proponent.
Richard Dreyfuss, when we were doing 'American Graffiti,' was pumping me to vote for McGovern. But I think I wound up going for Nixon. I thought he could get us out of the Vietnam War quickly. Ha.
I don't vacation on the water. I'm a pale-skinned redhead; I get sunburned out there. I'm a little frightened of the ocean, in fact. But I just know there's great drama out there.
I'm not really a sequel guy. I did 'Angels & Demons' after 'The Da Vinci Code,' because I like working with Hanks, and I felt it was a really different sort of world that we were visiting. That was, of itself, interesting.
There was a combination of shyness and just fear of looking stupid that kept me out of a lot of interesting creative conversations that I could have had at an early age.
I'd rather risk confusion and stay creatively fresh and stimulated. I feel like I'm growing and challenging myself all the time.
I'm excited about what technology is offering storytellers and movie- and TV-makers.
Early in the second season of 'The Andy Griffith Show,' I ventured a suggestion for a line change to make it sound more 'like the way a kid would say it.' I was just 7 years old. But my idea was accepted, and I remember standing frozen, thrilled at what this moment represented to me.
3-D is a truly exciting possibility. Whether that's going to be something that sustains our interest, I'm not certain, but I think it will.
As a director, I've wanted to have adventure in my life, creative adventure. I think it's partly because I grew up, basically from age six to 26, mostly on television series where the producers find something that works and then do it over and over and over again.
I think there's a tendency with actor/directors to imagine themselves playing every part and trying to get people to follow their rhythm, their tempo, their pace. I've learned now to just love being at the center of this creative swirl.
Sometimes there's something very comforting about a film unfolding more or less as you expect it to.
I want to work. I'd be unsatisfied if I couldn't be pursuing this. But I love my family more. This is really life.
Imagine if the people who have lived and learned still had the vitality to act upon the hard learned lessons - and not just share in a conversation, but lead.