I grew up in a lower-middle-class environment, usually the lone minority among my classmates.

Both of my parents were college-educated within the curriculum in Haiti. When they came to the United States, both had to learn English. My mother worked in retail and continues to do so today, working as the lead sales representative in a fine-jewelry store. My father became a machinist.

As a child, I envisioned a career in the hard sciences. In sixth grade, I was buying college chemistry textbooks.

I was accepted into Cornell in 1979 and went there to follow a finance and business path. I ended up pursuing marketing and sales because I was selected by Procter & Gamble as an undergraduate candidate to go into its brand management program, which is typically available only to M.B.A. candidates.

The 3DS is a fantastic machine with more than 1,000 games. Its key differentiator is the 3D immersive experience without need for glasses. But as good as that machine is, you can't play a game like 'Legend of Zelda: Breath of the Wild' on it.

When you think about a new platform, what will define it as a long-term success are the ongoing range of games and experiences that come to the platform - not what's available on Day One.

For the Nintendo Switch, we were very deliberate in wanting to make sure, from a Nintendo publish standpoint, that we had a steady cadence of great games in addition to strong titles at launch.

That's what DSi is all about: Providing simple, quick-to-master experiences that everybody can pick up and enjoy.

Our strategy with DSiWare is the same as with WiiWare in that we want to provide new experiences every week.

One of the things that... I've seen Nintendo do so well is provide a user interface that is intuitive, easy to navigate, easy to execute against - and in our view, that's exactly what we've done on DSi.

The appeal of Wii to nongamers has taken away some of the seasonality of sales we've come to expect in the past.

The competitive landscape for us is very broad. We see ourselves in the entertainment space. We compete with listening to the radio. We compete with watching TV. We compete with social networks.

We compete with all of the time that consumers spend when they're not sleeping, they're not eating, not going to work or going to school. Because everything else is entertainment time.

We believe that creating a 'Mario' game is a special endeavor.

We believe that either our own teams or teams that we direct are best capable of creating 'Mario' games that will live up to the franchise. The same is true for 'Metroid' and 'Zelda' and all those wonderful properties. For us, we want to control those characters as a key corporate equity.

We, as a company, take the most risks in pushing the boundaries on consumer expectations.

The gaming enthusiast that buys a tremendous amount of games is truly insatiable.

It's true that Miitomo, at its core, aims to foster social engagement. That's what it's all about.

We want Miitomo to create an atmosphere that's distinctly Nintendo.

We expect people's experience with Miitomo to be a rewarding one in its own right. But at the same time, it's also a way to have them engage - or reengage - with Nintendo.

The reality is, the way that online experiences have progressed, it's an expensive proposition. The amount of servers we need to support 'Smash Brothers' or 'Mario Kart' - these big multiplayer games - is not a small investment.

We have worked with a range of input approaches. We've worked with the range of mechanisms to drive immersion into the gaming experience.

You have to be willing to fail, because you're not going to make every shot.

I'm very respectful of others.

I try and do the right things most of the time and let the chips fall where they may.

When you have 20,000 people yelling and screaming at you, four other guys can concentrate on the floor. So every time I touch the basketball and everyone is yelling and chanting and doing things towards me, well, four other guys can concentrate.

A lot of people wish they could be in the house with the greatest of anything. I just so happened to live across the hall from absolutely, positively the greatest women's basketball player ever.

I made a lot of big threes throughout my career, but it was the 3-point shot that allowed me to maneuver inside the paint, post-up, mid-range game and so forth.

I don't know if it's a small-market thing or not, but we never get the benefit-of-the-doubt calls like New York, L.A., Miami and the big market teams. That's just the way it is.

Whether it's the best player or the 12th man next to the Gatorade cooler, understanding the personalities on your team is key.

I think the character of a man is to establish something where no one else has ever done before.

In professional sports, you live in the moment, and that's what I love about it.

The reality is, I don't care about the Knicks' feelings.

Drake took me to the limit in our ping-pong challenge.

I want to make movies like 'The Upside of Anger,' 'Maria Full of Grace,' old-school films like 'Some Kind of Wonderful' or 'Vision Quest': movies you remember songs and lines from.

If you win in New York - that Frank Sinatra song - you are a god. You are a king.

I didn't want to be like some other guys who jump on another team's bandwagon just to get a ring.

A lot of times, I think broadcast commentators can get bogged down with stats and personal agendas.

I'm into hard work. I never had the best talent or the best jumper. I've always been about dirt and sweat.

The best thing is to go into an opposing arena, and 15,000 people are focusing on you. That's the best feeling.

Being the most popular, I don't know; I don't get into people patting you on the back.

My range is from wherever the coaches won't have a heart attack.

I walk into a restaurant in Westwood now, and people know it's Reggie Miller. I used to be always Cheryl's little brother.

I'm a leader.

Forwards are either too tall, and I'm too quick for them, or guards are too small, and I shoot over them.

People say I'm cold, that I'm impersonal on the court. Well, let me tell you, it's blood and guts out there.

Shaq is just a goofy dancer. He's just silly.

Reggie - that was on the court. Reginald is the executive.

If one person doesn't like your film, if he's powerful, your film will never see the light of day.

That's what independent filmmaking does: it gives the underdog a voice, a shot.