There was not a lot of dialogue. The titles were just to keep you up. It's the visual stimulation that hits the audience. That's the reason for film. Otherwise, we might as well turn the light out and call it radio.

[M*A*S*H] didn't get released by FOX, it escaped.

All of my films deal with the same thing: striving, socially and culturally, to stay alive.

I make no apologies for Popeye. Behind M*A*S*H, it's my biggest hit. It got maligned by the critics because it wasn't Superman. It wasn't about special effects and it wasn't made for 14-year-old boys. The majority of films are made for 14-year-old boys; I don't know where they get the eight bucks to get in. It's hush money from the parents.

The minute you have more than one voice, you have more possibilities opening up. You have all the molecules in all of those bodies and their make up interacting.

Happy endings are absolutely ludicrous, they're not true at all. We see the guy carry the girl across the threshold and everybody lives happily ever after -- that's bullshit. Three weeks later he's beating her up and she's suing for divorce and he's got cancer.

Titanic I thought was the most dreadful piece of work I've ever seen in my entire life. Another film that I think is equally bad was American Beauty. So badly acted and directed. But people like that.