Leni Riefenstahl was the one person Goebbels had no control over in the filmmaking community of Nazi Germany, and they despised each other. But because she was Hitler's favorite, she could do what she wanted. She was the only filmmaker that did not have to cow down to Joseph Goebbels.

I appreciate the female foot, but I've never said that I have a foot fetish. But I am a lower track guy. I like legs' I like booties'. I have a black male sexuality.

When I'm writing, it's about the page. It's not about the movie. It's not about cinema. It's about the literature of me putting my pen to paper and writing a good page and making it work completely as a document unto itself. That's my first artistic contribution. If I do my job right, by the end of the script, I should be having the thought, 'You know, if I were to just publish this now and not make it . . . I'm done.

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.

I hate The Confederate cause. I've always felt that they are our Nazis and the rebel flag was our swastika.

I don’t want to be an old-man filmmaker, making old-man movies, and I don’t want to be the one not to know when to leave the party.

What the internet has done is destroy film criticism. I would never have guessed that the profession of film criticism would be going the way of the dodo bird.