There are movies that change the whole way in which films are made, like Klute, where Gordon Willis’s photography on the film is so textured, and, they said, too dark.

I know there were many good policemen who died doing their duty. Some of the cops were even friends of ours. But a cop can go both ways.

Violence is not the answer, it doesn’t work any more. We are at the end of the worst century in which the greatest atrocities in the history of the world have occurred... The nature of human beings must change. We must cultivate love and compassion.

I'm often asked by younger filmmakers, 'Why do I need to look at old movies?' I've made a number of pictures in the last 20 years and the response I have to give them is that I still consider myself a student. The more pictures I've made in 20 years, the more I realize I really don't know. And I'm always looking for something or someone that I could learn from. I tell the younger filmmakers, and the young students, that do it like painters used to do—that painters do—study the old masters, enrich your palette, expand the canvas. There's always so much more to learn.

Any film, or to me any creative endeavour, no matter who you're working with, is, in many cases, a wonderful experience.

You've got to protect whatever creative talent you have left.

Michael Jackson was extraordinary. When we worked together on 'Bad,' I was in awe of his absolute mastery of movement on the one hand, and of the music on the other. Every step he took was absolutely precise and fluid at the same time. It was like watching quicksilver in motion. He was wonderful to work with, an absolute professional at all times, and it really goes without saying... a true artist. It will be a while before I can get used to the idea that he's no longer with us.