EDWARD ZWICK

There is no reason why challenging themes and engaging stories have to be mutually exclusive - in fact, each can fuel the other. As a filmmaker, I want to entertain people first and foremost. If out of that comes a greater awareness and understanding of a time or a circumstance, then the hope is that change can happen.

Sometimes when we weep in the movies we weep for ourselves or for a life unlived. Or we even go to the movies because we want to resist the emotion that's there in front of us. I think there is always a catharsis that I look for and that makes the movie experience worthwhile.

I look at modern life and I see people not taking responsibility for their lives. The temptation to blame, to find external causes to one's own issues is something that is particularly modern. I know that personally I find that sense of responsibility interesting.

Samurai culture did exist really, for hundreds of years and the notion of people trying to create some sort of a moral code, the idea that there existed certain behaviors that could be celebrated and that could be operative in a life.

To me this movie is about what is valuable. To one person it might be a stone; to someone else, a story in a magazine; to another, it is a child. The juxtaposition of one man obsessed with finding a valuable diamond with another man risking his life to find his son is the beating heart of this film.

It seems that almost every time a valuable natural resource is discovered in the world-whether it be diamonds, rubber, gold, oil, whatever-often what results is a tragedy for the country in which they are found. Making matters worse, the resulting riches from these resources rarely benefit the people of the country from which they come.

I think one of the privileges of being a filmmaker is the opportunity to remain a kind of perpetual student.

There is a segment of the American population that has been excluded from the national myth, and that should be redressed.

I have nothing against diamonds, or rubies or emeralds or sapphires. I do object when their acquisition is complicit in the debasement of children or the destruction of a country.

There is something universal in the theme of a man trying to save his family in the midst of the most terrible circumstances. It is not limited to Sierra Leone. This story could apply to any number of places where ordinary people have been caught up in political events beyond their control.

I don't think movies can ever be too intense, but people have to understand why you're showing them the things you are showing them.

I think it's too easy often to find a villain out of the headlines and to then repeat that villainy again and again and again. You know, traditionally, America has always looked to scapegoat someone as the boogie man.

I had known a couple of people in college who went off the rails, who had significant bouts with mental illness.

Forgive me, but what is the purpose of drama but catharsis?

One of the great tragedies is that there is so much less open land available in Japan today. Many Japanese come to New Zealand because of its beauty.

I think to see American troops in an American city is, you know, the sum of all of our fears.

When my own son was 12, we didn't want toy guns in the house. So he just picked up a stick and went, 'Bam! Bam! Bam!' That's the testosterone of a 12-year-old boy.

I've never been one of those guys who storyboards every frame, because that would take away some of the mystery and some of the fun.

My very first job was working on a TV show that was a prestigious TV show and well done - was called 'Family.'

It's a harder time to make original, less conventional movies. But God, we need them!

When we did 'Thirtysomething,' television was either about doctors, lawyers, or cops.

The idea that things can be serious minded but must be somehow balkanized in the art-house ghetto is very upsetting because I think it limits not just the audience who was already going to see it, but those who might have had their tastes developed at a younger age.

The ronin were those masterless men who roamed around, and yet they found themselves getting involved in circumstances they hadn't expected.

I might have painted myself into a bit of a corner doing all these big, serious David Lean-esque movies.

One resists categorization at one's peril.