And I also trust that there's more than one way to do something.
What you want to do is, you want to get away from people being afraid to show their work, which is the first thing, because they don't want to be shot down.
Because you're telling a story, and I'm sure people fifty years ago would tell the same story differently if they were telling it to you today. Because the time is different. The film is the work of today's audience.
You know you can usually solve almost any problem, or you'll realize you can't, but usually you can solve almost any problem through some sort of trickery one way or another and get the shot to work, but you know when to give up.
To me the biggest breakthrough was when we did Terminator 2 that just opened the door for Jurassic and all of the others and that was as big as when we did motion control on Star Wars. But I don't see another big thing coming.
And it's very hard to do this stuff too because there are so many effects movies being done, so many companies busy doing this work and the public just wants to see it. Good work is being done all over the world.
It's harder for me to work on a Forrest Gump kind of movie, where everything is invisible.
Other times you can get showy for three minutes, and that's OK with certain films. But that isn't right with an Ang Lee movie, you have to fit right in. You have to understand Ang, respect him and be part of the team and not be in charge of it - he is in charge of it.
Everyone is trying to do something that hasn't been done and that's a really good thing. You can only do so much with a story and some scripts don't give you the opportunities and other scripts do give you the opportunities to do things that haven't been done before.
But you don't hire Ang Lee to do a typical children's movie. But it's such an interesting combination, whoever thought of getting Ang together with a comic book, that was just great.
I've done enough of this that I can tell early on if it's going in the wrong direction or not.
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