History opens up new worlds to film-makers all the time.

I like the smell of film. I just like knowing there's film going through the camera.

My film refuses to be a pamphlet. My screenwriter, Tony Kushner, and I were hoping to make it a visceral, emotional and intellectual experience, combined in such a way that it will help you get in touch with what you feel are the questions the film poses. The most important thing about peace in the Middle East is that people surrender their absolute certainty about what's going on.

It would make people more comfortable if I made a film that said all targeted assassination is bad, or good, but the movie doesn't take either of those positions. It refuses to. Many of those pundits on the Left and Right would love the film to land somewhere definite. It puts a real burden on the audience to figure out for themselves how they feel about these issues. There are no easy answers to the most complex story of the last 50 years.

INTO THE WEST takes place during one of the single most dramatic periods in American history. We're painting this on a huge canvas in order to tell a story that explores the Gold Rush, the transcontinental railroad, the wild west and the Indian wars leading to the tragedy at Wounded Knee. These are all facets of the American and Native American experience. It's the story about opportunity and the clash of cultures and the eventual overwhelming of one nation's way of life over another.

So I try to re-invent my own eye every time I tackle a new subject. But it's hard, because everybody has style. You can't help it.