You know, my problem with most screenwriting is it is a blueprint. It's like they're afraid to write the damn thing. And I'm a writer. That's what I do. I want it to be written. I want it to work on the page first and foremost. So when I'm writing the script, I'm not thinking about the viewer watching the movie. I'm thinking about the reader reading the script.

I don't want to deal with the underneath while I'm, you know, while I'm making it or while I'm writing it or when I'm making it. Because again, I don't want to hit these nails on the head too strongly.

I've never used High Definition video, never, ever, ever, ever, ever. And I never will. I can't stand that crap.

You can do all these kinds of things that are up close and personal, but you really have to bring your strength, and really - you have to really be committed to actually strangle the life out of somebody, to crush their larynx and just squeeze every drop of life out of them.

I'm a human being with a conscience, and when I see murder, I cannot stand by, and I have to call the murdered the murdered, and I have to call the murderers the murderers.

Oddly enough, most of the books written about the subject aren't very good because they just focus on the more hateful movies that they did very early, early on when they were trying to, you know, get Germany into the war, whether it be anti-Semitic movies like "Jud Suss," or "The Eternal Jew," or movies made against the Polish to help, you know, create sympathy for them to invade Poland. You know, there'd be movies where there would be some German girl living in Poland who's raped by the Polish or something.

One can be inclined to just say, "F this political correctness! I don't have time for that!"