In America, instead of making the audience come to the film, the idea seems to be for you to go to the audience. They come up with the demographics for the film and then the film is made and sold strictly to that audience.

If you're doing a biography, you try to stay as accurate as possible to reality. But you really don't know what was going on in the person's mind. You just know what was going on in the minds of people around him.

Dyin' ain't much of a living, boy.

When I used to be a contract player in 1954 at Universal, I wasn't getting good roles. I was getting one-liners, and then I'd be gone. But I'd hang around; I'd watch guys. And when I had days off, which was most days, I'd go down and watch other sets while they were shooting. Watch Joan Crawford or whomever. Just watch how they worked and how the director handled them. I didn't know anything about making movies, and there's a lot to learn.

I've had moments when I've thought about somebody, picked up the phone to call them and they are on the line already, and I think that maybe there's some vibration, some connection.

I was forty the first time I directed. I formed a company in 1967, looking to the future. My dad taught me that whatever you do, do it well. Be the best at what you can do for that particular job in life. That always resonated with me.

We don't even know who's in the Academy.