Writers who go to Hollywood still follow the classic pattern: either you get disgusted by 'them' and you leave or you want the money and you become them.

We read critics for the perceptions, for what they tell us that we didn't fully grasp when we saw the work. The judgments we can usually make for ourselves.

If it took some effort to see old movies, we might try to find out which were the good ones, and if people saw only the good ones maybe they would still respect old movies. As it is, people sit and watch movies that audiences walked out on thirty years ago.

Really, it's not people who don't understand us who drive us nuts—it's when those who shouldn't, do.

An avidity for more is built into the love of movies. Something else is built in: you have to be open to the idea of getting drunk on movies. (Being able to talk about movies with someone -- to share the giddy high excitement you feel -- is enough for a friendship.

All our advertising is propaganda, of course, but it has become so much a part of our life, is so pervasive, that we just don't know what it is propaganda for.

in show business there's not much point in asking yourself if someone really likes you or if he just thinks you can be useful to him, because there's no difference.