War as Napoleon knew it just not possible any more. However, we're very unlikely to accept or recognize 'world peace' even when we get it.
No matter how successful you get in Hollywood, you cannot rest. Your new movie doesn't open well; they're looking for the next person to replace you; it's always something. You never have true peace.
I'd loved to wear jeans and t-shirts, but everybody was in the peace movement back then. And that was my ploy. I had to be careful not to say things like 'I like meat.' Actually I just wanted to drink beer and to screw.
When I look back on my childhood, I think of that short time in Beirut. I know that seeing the city collapse around me forced me to grasp something many people miss: the fragility of peace.
I don't think there's anything more important than making peace before it's too late. And it almost always falls to the child to try to move toward the parent.
I know that. I'm having a ball. I'm not slap happy. I'm just filled up with joy and with peace and with all kinds of things that have eluded me for quite a few years. And they're back and they're thriving.
I grew up on the East Coast and was going to go to an Ivy League School, but at the last minute I decided to be a hippy. It was the protest movements on the war, peace movements were going on at our university. It was a fantastic time.
One of the main reasons I wanted to work on 'World War Z' was because I'm a huge fan of the book, and I love the idea of taking a non-linear story and creating a three-act structure out of it.
London 'Harry Potter' premieres are very special events: There is this sense of love and ownership and pride, and it's just palpable. It's a very different feel from an L.A. premiere. It's nice to be a part of something that's so positive.
I get letters from women, and they say, 'I love your Roman nose.' If I weren't on TV and I walked past that same woman, she'd go, 'Did you see the beak on that guy?
The main stuff I like is from the late '60s to the early '90s. That's the stuff I love. It's the James Cameron's and the Paul Verhoven stuff. I guess when I was younger, 'Star Wars' had an influence.
When you're younger and you see something that really speaks to you, it's indelible in a way that's not the same as when you're an adult. So I'll always love reading books and making movies that resonate with young people.
When my novel 'Beach Music' came out in 1995, I had included a couple of recipes in the book and had tried to impart some of my love of Roman cuisine and the restaurants of Rome.
I would love to write a script where the main character is a woman. I know I can direct a film where the main character is a woman. I cannot write that film.
I have so many questions about love. How do you win at it? Especially if you're in a relationship with an impossible person? What if you believe in someone who's completely untrustworthy, who at their core can't even believe in themselves?
I'd love to have another film to go on to. I'm in the mood to work. But I have to be patient, you know, to find that particular kind of project. Occasionally I'll write one myself if I can summon up the energy.
I'm kind of a tech geek. With the camera work, I chose to shoot super 16, which has a real tactile feel. I feel it's as authentic as possible; I love the way the grain feels.
I didn't want readers to think I was asking to be praised for taking care of my wife while she was ill. Lots of people are heroic, more heroic than I was, when faced with the suffering of someone they love.
I love changing. I hate it when people try to box me in to a relationship or in a work context. Any situation where I feel boxed in freaks me out. And I feel the need to reinvent myself or I'll get bored.
I love the incredible variety of demands directing makes on you, from the entrepreneur to the hustler to the deal-maker to the writer; to directing actors and the camera and working with music, sound, marketing and promotion. It uses so many sides of...
I'd say Rob Reiner's 'When Harry Met Sally' is my all-time favorite. It made me realize there's a way of telling a story where the audience is so in love with the characters that they forget you're even telling a story.
