We felt a responsibility to the McDonald brothers and to Ray Kroc to be as factual as possible. We didn't have a responsibility to make anyone look good or anybody look bad, just to try our best to be honest.

I remember going to McDonald's for the first time probably when I was in college. And then I remember going and visiting a friend in Wyoming, and he said, 'We're going to do something special. We're going to McDonald's.'

I grew up in a refinery town in Texas, and we weren't fancy enough to have a McDonald's.

For every one that gets made, there are five other movies that you try to get made that you don't.

Don't worry about the little factual details. Get to the heart of it.

Every time you do a true story - and I've done a few - you have to look in the mirror and say, 'That's close enough. I'm comfortable with this.' You're always going to compress time; you're going to change the order of things. But I don't think you want to tell a big lie. You want to think that you're embracing the truth.

Any time you have people of different races in a movie that's about America, there's going to be a racial component.

I got an English degree in college and then went to law school because I didn't know what else to do. I was a lawyer in Houston, Texas. I started writing plays and screenplays, and after about three years of practicing, I decided I would move to Los Angeles and give it a shot.

I grew up in Texas City, Texas. I didn't know anybody who was a director or whose parents or grandparents were directors. I met somebody from a nearby town one time whose father had been to the moon - it was far more likely to be an astronaut than it was to be a writer or a director.

Every generation comes upon the movie again, and then, invariably, the books have a spike in sales because people want to read more about Mary Poppins.