There was a fairly big difference between Detroit and Beverly Hills. I remember this. Detroit actually was a prosperous bustling city when we moved here in 1941. But the first day in Detroit, you always wore a shirt and a tie to school. And I wore a shirt and a tie to Beverly Hills High School, and a girl came up to me and said, "Where are you from?" And I said, "Detroit." And she said, "And you won't be wearing a tie tomorrow, will you?" And I said, "You're absolutely correct." So that was my first adjustment to a slightly more casual environment.

I was called recently in some article "Hollywood's Oldest Established Rebel." So I'm sort of working from the inside now, with still a little bit of a rebellious spirit.

As a producer, I probably am a little stronger than most, since I was a director originally.

In order to create art today, you have to compromise your art somewhat and be a businessman.

A great director, first, is highly intelligent. And he is also a dedicated and willing to work hard. Now those are easy things to identify. The third is the creativity, and that is very difficult to identify in advance. This is why so many of the directors who have started with me were my assistant - the first one was Francis Ford Coppola.

There was a fairly big difference between Detroit and Beverly Hills. I remember this. Detroit actually was a prosperous bustling city when we moved here in 1941. But the first day in Detroit, you always wore a shirt and a tie to school. And I wore a shirt and a tie to Beverly Hills High School, and a girl came up to me and said, "Where are you from?" And I said, "Detroit." And she said, "And you won't be wearing a tie tomorrow, will you?" And I said, "You're absolutely correct." So that was my first adjustment to a slightly more casual environment.

Other writers, producers, and directors of low-budget films would often put down the film they were making, saying it was just something to make money with. I never felt that. If I took the assignment, I'd give it my best shot.