Norman Jewison Quotes

When you deal with a film that takes place in Europe, and you're going to work in English, you'd better work with European actors.

I work with a lot of movie stars.

When the small independent film, which depends on its artistic appeal rather than wide commercial distribution by an MPAA member, is now denied access, the playing field becomes unfair and uneven.

The eradication of anti-personnel mines around the world is one of the most important tasks facing the international community.

I'm in the mood for another Moonstruck experience, for another romantic comedy.

Everything Sholom Aleichem talks about in his plays and his short stories is about people, family, man's relationship with his God, the breaking down of tradition.

When you shoot a musical, you're shooting to lipsynch tracks, so we had to figure out our choreography and work out what we wanted to do with each number before we did it.

I'm going to do an adaptation of the Italian film, Bread and Tulips. I really like that film.

But Madonna has a small amount of talent when it comes to movies.

Moonstruck... was one of the few romantic comedies to be nominated for a Best Picture Oscar.

I don't make films to win prizes. I make films to make films.

Betrayal... is my favorite subject.

I mean they're making remakes of my films and I'm not even dead yet! Why would you want to make a remake?

Do what you're told, and everything will be all right.

It's an entire industry focusing on young male viewers that want action and violence. They sell us something that isn't valid. They're selling films like a product.

I was very disappointed that Denzel didn't win Best Actor for The Hurricane because I thought he deserved it.

A lot of American actors I work with are in character all day long. You can't talk to them. It's Method and the whole thing.

Michael Caine is a movie star, but he's also a great actor. I can't say that about every movie star. It's the concentration he has.

Obviously, In The Heat Of The Night was a landmark movie because the timing was perfect. It was in the middle of the Civil Rights Movement.

The album for Fiddler really took off. I think it was a combination of John Williams and the score. It was a very classy big album.

We also have a tendency to root for the fugitive. We're always on the side of the animal being chased.

We're always on the side of the animal that's being chased. We always seem to be on the side of the rabbit or the fox and not on the side of the hounds.

I think I've done pretty well. I've had about 46, or 47 nominations from my movies, and my films have won about 12 awards, so I don't have any complaints.

We live in an age of publicity and hype. There's something about success that dehumanizes you, whereas failure reminds you of who you really are.

I think all Nazis didn't see themselves as bad people. I've never met a racist yet who thought he was a racist. Or an anti-Semite who thought they were anti-Semitic.

I still get a lot of material but I find that as one gets older you get more fussy. You know you're going spend a year or a year and a half on this and you know there are only so many films in you so you get a little bit more selective.

Look, I'm just a storyteller. When I make a film, I never want the film to become a vehicle of social propaganda.

I think you get better as you get older.

But I've never met a racist yet who thinks he's a racist. That's always the disturbing thing about when we begin to look at ourselves.

In America there's no rights for the artist, so whatever films I've made kind of belong to the studio.

I was really excited to have the opportunity to make Fiddler.

I don't like to think that maybe I'm just getting old. I'm not too excited about watching a huge explosion. I'm more interested in people and characters.

Every generation deals with the breaking down of its tradition, and I think that they rediscovered the film.