My Dad hated his job. He sold overcoats, but he wanted to make movies. He had a failed career working with the Ritz Brothers - they were like the Marx Brothers, only a tier below. I always had a picture in my mind of him in a straw hat.

When my father bid $5,000 for the 1962 Championship Game, that was a huge amount. It was double the bid the year before. Pete Rozelle was flabbergasted. Who was this guy who was willing to spend so much money on what seemed like relatively worthless rights to the NFL Championship Game?

We would get 20 different angles and then cut them all together. That's what I called it at the time - the 'cubistic' treatment of shooting football. It was the same thing Picasso did except we did it with a football play. It's taking a single image and looking at it from multiple perspectives.

I've been very lucky in the freedom that I've been given. Every artist needs two types of freedom: You need the freedom to - the freedom to come up with an idea or treatment - and then you need the other half of the freedom, and that's freedom from - somebody saying, 'This is great. This is how I want you to do it.'

I'm blessed to work in sports every day.

You do get a chance to think about things when you're at home, but that is when you want to relax and forget about football for a bit. Honestly, you don't really get time to stop and think about things. We have a job to do. That is all we concentrate on, going game by game.

In sports, the confluence of the 1989 Oakland vs. San Francisco World Series and the Loma Prieta earthquake notwithstanding, the earth rarely moves.

Becoming an Olympian is the ultimate reward for any athlete.