Fast cars are my only vice.
We don't make movies for critics. I've done four movies; there's millions upon millions upon millions of people who've paid to see them. Somebody likes them. My greatest joy is to sit anonymously in a dark theater and watch it with an audience, a paying audience.
I allow a lot of room for improvisation and funny stuff. I always feel planned.
Everybody knows about Pearl Harbor. The thing that really fascinated me is that through this tragedy there was this amazing American heroism.
What I look for in a script is something that challenges me, something that breaks new ground, something that allows me to flex my director muscle. You have got to think fast in this business, you've got to keep reinventing yourself to stay on top.
I make movies for teenage boys. Oh dear, what a crime.
A lot of directors don't want the pressure of a movie the size of Pearl Harbor. But I love it. I thrive on it.
I'm at that point in my life where I definitely want to get married soon. I've got my dogs as surrogates, but I'm ready for kids.
I go out there to win. People don't care if you die in this business. The only way I get back is with success.
I make movies that audiences like, that I'd want to see. That's all.
For me, the great joy is to watch an audience watching what I've made. To hear not a peep from the audience at the right moment, and then to hear the laughs and the cheers.
There are things that I invented - the creaky geriatric robot that is always grumpy, for example, or the little wheelie guy, he's not in the Hasbro lore. But kids love that stuff - this little guy as a pet on a chain. They gravitate towards it.
I'm one of the few directors that actually shoots a lot in camera.
I'm done with effects movies for now. When you do a movie like 'Transformers', it can feel like you're doing three movies at once - which is tiring.
Maybe I have just a younger voice than many other directors.
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