Blu-ray and the technologies emerging around it are the premiere format for reproducing what we do as filmmakers. There's more space on the disc, more bit rate.
I did want to share with you one of the greatest lessons I've learned over the years cooking for my kids - there is enormous value in bringing children into the kitchen.
If I could have anybody I haven't had, I'd want to interview somebody like Jay-Z or Puff Daddy, pick their minds a little bit.
I lost two brothers in an airplane crash, both of them leaving a wife and kids. When I get to Heaven, that's probably the first question I'd like to ask: 'Why was it necessary?'
I had done a directing producing job before on 'Big Day' and 'Jake in Progress,' and those are two shows where I directed the pilot and stayed with it in series.
I think it's not uncommon for new television shows to spend certainly the first year, but without a doubt, like, the first eight or ten episodes, kind of figuring out what the show is.
When I met my wife 20 plus years ago, she was a vegetarian, so I was the closest thing to the devil that she had ever met.
In Cleveland, I'm so fortunate that we're surrounded by farms with an endless variety of beautiful vegetables. For me, I always eat very tightly with the season, even if the season is only six weeks.
I always tell my employees, the busier it gets, the slower you should cook. When you run around like a crazy person, that's when things go wrong.
For 'Power of 10,' you can look at the methodology at CBS.com, it's a company called Rasmussen Reports. We poll thousands and thousands of people for each question, a real cross section of the United States.
If you want to make a movie, there may be many forces trying to pull you down, but really, a lot of it is will power. You can will it into being if you just believe that you are going to make a movie.
It's nice being friends over a period of time with people whose music you like so much, or other filmmakers, seeing people change, go through trials.
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When you're doing a film, narrative is your most important tool, but it's a tool to create a cinematographic experience, to create those moments that are beyond narrative, that are almost an abstraction of that moment that hits your psyche.
I pray every night, sometimes long prayers about a lot of things and a lot of people, but I don't talk about it or brag about it because that's between God and me, and I'm no better than anybody else in God's sight.
The experience of reading a book is always unique. I believe that you render a version of the story, when you read a book, in a way that is unique and special to each person who reads it.
In my experience, and that of a lot of other women writers, all of the questions coming at them from interviewers tend to be about how lucky they are to be where they are - about luck and identity and how the idea struck them.
I've told people who have just started to make a film that the one thing you might experience is this feeling that everybody is conspiring against you, because you're not necessarily able to tell what's real and what's not.
When I started really writing fantasy, one of the things I noticed was a real absence of sexuality in the genre at all. And it's such a profound part of the human experience that it's a really big thing to leave out.
For me, an ideal novel is a dialogue between writer and reader, both a collaborative experience and an intimate exchange of emotions and ideas. The reader just might be the most powerful tool in a writer's arsenal.
It's one of the most liberating things I experience in writing - letting yourself get rid of a gesture or character or plot point that always nagged, even if you couldn't admit to yourself that it did.
