To me, Godard did to movies what Bob Dylan did to music: they both revolutionized their forms.

If the film is nominated for awards, and even if it wins them, it doesn't make the movie any better, just as if it's ignored that doesn't make the movie any worse.

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

My plan is to have a theatre in some small town or something and I'll be manager. Ill be the crazy old movie guy.

When it came to a lot of these German actors with the English, they just couldn't do it. They couldn't get the poetry out of it. They couldn't own it and make it their own. And then Christoph [Waltz] came in, and I didn't know who Christoph was.

I actually thought that the idea of doing a World War II movie in the guise of a spaghetti western would just be an interesting way to tackle it. Just even the way that the spaghetti westerns tackled the history of the Old West, I thought it could be a neat thing to do that with World War II, but just as opposed to using cowboy iconography, using World War II iconography as kind of the jumping-off point.

The children despise their parents until the age of when they suddenly become just like them - thus preserving the system.