Because I just loved to spend two years of my life in the company of Andy Kaufman and other characters.

Communists love to make films about composers, because composers compose music and don't talk subversive things.

Ideological pressure is much more crippling than commercial pressure. Crippling to your own freedom of thinking and creating, crippling the final results. If you wanted to succeed during the really hard-line totalitarian regime, you have to make so many compromises to please the censors that you don't recognize the original idea from the final result.

Well, I wouldn't say that this experience had any influence on my decision to do this film about Andy, because Andy was apolitical. Andy was never political.

You know, 20 years... the films of television when it started, the literature, radio in communist countries, they're clean as a whistle; there was no violence, no sex, no drugs, nothing.

I get out of the taxi and it's probably the only city which in reality looks better than on the postcards, New York.

You really see life around the principals to be as important as the main, principal actors. That's what cinéma vérité taught me - that it's not a question of having a main character, a great actor, and the rest is unimportant. Every detail, every face in the crowd is important.