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.

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 have loved football as an almost mythic game since I was in the fourth grade. To me, the game wasn't even grounded in reality. The uniform turned you into a warrior. Being on a team, the mythology of physical combat, the struggle against the elements, the narrative of the game.

My goal isn't just to make wrestling into a bigger show and make good money, but it's also to evolve pro wrestling to where I think it belongs.

He presented himself as the friend to Main Street America, and yet that aw-shucks persona ended up packaging policies and programs that were at times deeply injurious to the very people he swore to serve. After all, Reaganomics set in motion one of the largest wealth redistributions in American history, away from the poor and toward the rich.

My parents survived the Great Depression and brought me up to live within my means, save some for tomorrow, share and don't be greedy, work hard for the necessities in life knowing that money does not make you better or more important than anyone else. So, extravagance has been bred out of my DNA.

I've always thought anyone can make money. Making a life worth living, that's the real test.