Where opportunities to expand trade and commerce exist, we will lead, and we will partner.

I've repeated time and again that Arizona is open for business.

One state can't set everything right, but here in Arizona, we can set an example for the rest of the country in how those of us in elected office conduct ourselves and interact with each other and our constituents.

I honestly believe that we are Arizonans and Americans first, not merely advocates for our respective political parties.

I hope you'll find that my campaign was a reflection of how I plan to govern - bringing people together, building coalitions, and finding common ground.

We don't want Arizona to be dependent on the whims of Barack Obama and the federal government.

We want to control our own destiny and take responsibility for our own outcomes.

Let's learn from our peers and then beat them at their own game.

I've visited schools all across our state, and the message is clear. Our kids have needs today, and our educators need more resources to do their jobs.

When Arizona became a state, the federal government granted our founders nearly 11 million acres of state land. Every time we sell a piece of that land, proceeds go into the Land Trust where the money is invested and earns interest.

Too often, I hear stories of teachers and parents spending part of their paychecks to ensure there are supplies in the classroom - even basic necessities like pens, pencils and paper. This is unacceptable.

As our economy advances, educational attainment is going to keep Arizona competitive.

Earning a certificate or degree, or both, after high school opens the door to countless economic opportunities.

I built a company, a team, and a brand that started right here. It was an American success story, and it started right here in Arizona.

If you saw a better idea or business anywhere in the world, and you could reapply it legally and ethically and with attribution, you were supposed to do that. And I used that learning in building Cold Stone.

I built a company; now, I would like to shrink a government and grow an economy.

I'm a believer in private enterprise, the dignity of work, limited government, and the possibilities of freedom.

I am a forthright defender of the right to bear arms - which is guaranteed not only by the U.S. Constitution, but by the Constitution of Arizona.

We think that this message - of someone that's from the private sector that built a company and now wants to shrink a government and grow an economy - is a winning message.

This is America. Success is not guaranteed.

Trust me: you make a movie about time travel, and you know for a fact humans will never travel through time. The paradoxes that come up just from trying to tell a story with time travel really illuminates the fact that it's impossible. It will never happen. We can barely get through a movie that involves time travel.

If you go to a restaurant with Tom Cruise, it's like walking in with Santa Claus. Everybody is in a better mood because he's there.

The thing about TV is it's a meritocracy. I love that aspect of it - and I've had shows that have gone on the air and been canceled. I've seen the good and the bad of it.

Almost anything can be justified as a style of filmmaking if it works.

The more real I got on 'The Bourne Identity,' the more interesting it got. So 'Fair Game' was the chance to go a few more steps in that direction. In fact, I discovered this whole other world that I had ignored in the 'Bourne' franchise, which is the domestic life of a spy, and how you make the two halves of your life coexist.

When I was shooting 'The Bourne Identity,' I had a mantra: 'How come you never see James Bond pay a phone bill?' It sounds trite, but it became the foundation of that franchise.

To be honest, when I started watching VR content, I was mostly disappointed and thought people could do better - not that different from when I set out to make 'Swingers' and thought, 'There's a better way to make an independent film.' Which is why 'Swingers' ended up being so much less expensive than anything like it.

With VR, you are directing in a 360-degree environment. The biggest challenge is that the viewer can look anywhere. They might look at the the weakest moments, the very things you edit for TV. You don't control where they look.

All of my fellow directors, I think, would agree that in whatever medium you are working, the challenges and obstacles push them to be more creative. That's the case with VR.

From a production point of view, I still have one foot firmly planted in the independent film world, and much of the shooting on 'Jumper' was done 'Swingers'-style because that was the only way we could afford to do it.

When I read the script of 'The Wall,' I saw how much different the war looks from the point of view of a soldier fighting it.

There's no reason my films can't work as hard as VR does to hook an audience and never let them go, so I think that that it turns the volume up a little bit on storytelling. The same way when I was doing commercials and then I went and shot 'Go,' and 'Go' has a level of pace that is unlike any of my other movies.

The one thing about reality is sometimes it gives you material that is wilder than some of your wildest imagination could come up with.

More of 'The Bourne Identity's script was taken from the events of the Iran Contra, which my father investigated for the Senate, than what was taken from Robert Ludlum's novel.

For me, the scale of the budget is part of the creative process. 'Swingers' is the movie it is because we made it for exactly the right budget. Had it been made for a higher number, it would not have been as imaginative as we had to make it, given the budget constraints we had.

One thing about pushing yourself outside your comfort zone is that you're going to make mistakes, and you're going to fall flat on your face sometimes.

I'm very interested in politics, and I feel TV is a more political medium than film.

If you look at my movies, they're pretty densely packed, such that they not only hold up to a second viewing, they're oftentimes better the second time you watch them. So I've always thought about crafting stories that could hold up to multiple viewings, and so VR obviously fits right into that.

VR is so immersive, and when it works, it draws you into the story in a way that is truly unique and powerful.

Flying small airplanes is not like being on airlines.

It's kind of hard to work with Tom Cruise and not be aware that you're working with one of the biggest movie stars in the world.

VR should offer an experience that's more exciting than watching in 2D, and we're pretty good at 2D storytelling, so the bar's already pretty high.

In 'The Bourne Identity,' I wanted to give the audience the feeling of being in the car with Jason Bourne, not just watching him drive but be in the car with him, and 'The Wall' is the continuation of that immersive filmmaking style. Where you're trapped behind the wall with Aaron Taylor-Johnson - for better or worse, you're trapped there with him.

Casting is everything. I put a huge amount of work into casting, and consistently across my career, I am most proud of my bold choices I made in casting.

'The Wall' doesn't recount a specific soldier's experience in Iraq, but it captures the spirit of many experiences that were shared with me and with Aaron Taylor-Johnson and with John Cena.

The way I see it, the expensive people who get hired when you have money are the fancy people who tell you what you can't do.

I chose 'Mr. & Mrs. Smith' specifically 'cause I had just made 'The Bourne Identity' and made a film that glamorized being an action hero, and I wanted to make the exact opposite. I wanted to make a movie that glamorized maintaining a marriage, and that made the action hero part seem easy and made the marriage part seem hard.

What happened on 'Mr. & Mrs. Smith,' I was given a big budget and given too many choices, and I made a lot of mistakes and missteps early on until I squandered all that extra money. But then, once my back was up against the wall, I made what I consider a really good movie.

The movie I end up with is the movie I aspired to make.

I don't really analyze my process. I do know that if it's not right, I won't move on. I'm tenacious to a fault about that.