NFL Films has had one continuous, creative vision for 47 years. These are timeless things; timeless stories that we capture just like people go back and read Greek mythology.

So they talk about heaven, and I don't know what is waiting for me up there. But I can tell you this: Nothing will happen up there that can duplicate my life down here. Nothing. That life cannot be better than the one I've lived down here, the football life. It's been perfect.

There have been nine Super Bowls in New Orleans, and not all of them have brought the best of luck to NFL Films. We got robbed twice there, got food poisoning, and my hotel room was broken into on the day the Bears played the Patriots in January 1986.

To me, football is very personal. Even as a kid, I looked at football in dramaturgical terms. It wasn't the score that interested me, it was the struggle.

We see the game as art as much as sport. That helped us nurture not only the game's traditions but to develop its mythology: America's Team, The Catch, The Frozen Tundra.

We would get 20 different angles and then cut them all together. That's what I called it at the time - the 'cubistic' treatment of shooting football. It was the same thing Picasso did except we did it with a football play. It's taking a single image and looking at it from multiple perspectives.

When we started in the early '60s, football had a little bit of a tradition. But, they didn't have a mythology. And NFL Films, through our music and our scripts and our photography, created a mythology for the sport.

When we started NFL Films, there were no focus groups, there were no demographic studies, there were no surveys. Every decision that we made, we made with our hearts, not with our heads. And, in the very beginning, we really didn't even have a business plan.

You know how I came up with the name 'Road to the Super Bowl?' It's an homage to the old Bob Hope - Bing Crosby buddy movies - you know, like 'Road to Zanzibar' or 'Road to Morocco.' Can you tell? All I've done my whole life is go to movies.

The autumn wind is a pirate. Blustering in from sea with a rollicking song he sweeps along swaggering boisterously. His face is weather beaten, he wears a hooded sash with a silver hat about his head... The autumn wind is a Raider, pillaging just for fun.

Look at a football field. It looks like a big movie screen. This is theatre. Football combines the strategy of chess. It's part ballet. It's part battleground, part playground. We clarify, amplify and glorify the game with our footage, the narration and that music, and in the end create an inspirational piece of footage.

When my father bid $5,000 for the 1962 Championship Game, that was a huge amount. It was double the bid the year before. Pete Rozelle was flabbergasted. Who was this guy who was willing to spend so much money on what seemed like relatively worthless rights to the NFL Championship Game?

Football is a sport of emotions, and we have to capture that in our films.

Football is such a great game, but football players are so dull.

How about that? You can hear NFL Films music on everything from 'SpongeBob SquarePants' to 'Deep Throat.'

I always was fascinated by neat nicknames.

I blew the college boards, and to ease the snub from Harvard made a tour of Europe.

I don't go to games as much as I used to because of the NFL's Sunday Ticket. So I'll watch the games, take notes.

I think in the NFL knowledge is power, and you try to get the knowledge by whatever means.

I was kicked out of school one year for streaking.