The cinema, as literature, as all the plastic arts, do not exist outside of a critical system that allows us to study them.

I was the little French boy who grew up hearing people talk of De Gaulle and the Resistance. France against the Nazis! Then when that boy grew up, he began to uncover things. We began to legitimately ask the question, 'What exactly did our parents do during the Occupation?' We discovered it was not the story they were telling us.

Cool? Am I cool? I don't know, but I hope my characters are cool, in the sense of iconic. That's my job, at its very essence.

What interests me about genre is that the public connects immediately with it, it has certain rules, certain codes the audience recognizes. I can use that to create something very big.

I am a family man, and I have to find my priorities. During the season, it is to race. During the off-season, it is to spend time with my family.

I was kind of secretly hoping one of my kids would go out and make a million bucks. So when they put me in a home, at least I'll have a window with a view.

My mother was a reporter, and though she quit when they had kids, she still loved it. She told me about the people at the paper and the articles she wrote. She had the best memory of anyone I know, and she could really tell a tale.

Even very young children need to be informed about dying. Explain the concept of death very carefully to your child. This will make threatening him with it much more effective.