Most people, I believe, when they're asked profound questions about their own persona are not really able to enunciate it, because it's a combination of so many things.

When I started, we had just the camera and the person, mostly. And if you wanted to do a dolly shot, particularly working in Chicago where I began, you'd get in the back trunk of a car, and you'd have a friend drive the car, or you'd get in some kid's little wagon that he plays with and have someone pull that for dolly shots.

If you're making commercials which sell products which are unhealthy or which are unnecessary, I think that you are part of a system.

Lighting was very primitive. And still it was really the way to learn because sometimes some of the modern technology is so extreme and so compartmentalized that we lose sight of exactly what we're doing.

Most people, I believe, when they're asked profound questions about their own persona are not really able to enunciate it, because it's a combination of so many things.

I had a rope around my waist, and the rope was attached into the helicopter in case I fell off. And the shot was a shot that began with Kim Novak going out of a house and getting into a bus. Then it was supposed to go over the countryside and find a freight train on which Bill Holden was standing. And then after seeing a good look at the freight train, the camera was supposed to move up into the sky for the end credits.

I used it in a shot where Richard Burton goes down the hall to get a gun in a closet. And I wanted to get some excitement, and the hallway was too narrow for the dollies that they had at that time. So it was quite useful.