It amazes me that filmmakers will still film, and audiences will still watch, relationships so bankrupt of human feeling that the characters could be… - Roger Ebert

We are connected with some people and never meet others, but it could easily have happened otherwise. Looking back over a lifetime, we describe what happened as if it had a plan. To fully understand how accidental and random life is — how vast the odds are against any single event taking place — would be humbling. … This is the kind of film that makes you feel intensely alive while you're watching it, and sends you out into the streets afterwards eager to talk deeply and urgently, to the person you are with. Whoever that happens to be.

Khan is played as a cauldron of resentment by Ricardo Montalban, and his performance is so strong that he helps illustrate a general principle involving not only Star Trek but Star Wars and all the epic serials, especially the James Bond movies: Each film is only as good as its villain. Since the heroes and the gimmicks tend to repeat from film to film, only a great villain can transform a good try into a triumph.

"On Hayao Miyazaki

I told Miyazaki I love the "gratuitous motion" in his films; instead of every movement being dictated by the story, sometimes people will just sit for a moment, or they will sigh, or look in a running stream, or do something extra, not to advance the story but only to give the sense of time and place and who they are.

"We have a word for that in Japanese," he said, "It's called ma. Emptiness. It's there intentionally."

Is that like the "pillow words" that separate phrases in Japanese poetry?

"I don't think it's like the "pillow word." He clapped his hands three or four times. "The time in between my clapping is ma. If you just have non-stop action with no breathing space at all, it's just busyness, but if you take a moment, then the tension building in the film can grow into a wider dimension. If you just have constant tension at 80 degrees all the time you just get numb."