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.

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.

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

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.

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.

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

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.