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.

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.

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.

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.

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

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.