What I got, unconsciously, from admiring Fred Astaire was that he didn't want what he was doing to look difficult. What was difficult, in my opinion, was making it look so genuine, so effortless. I equally have tried to remain unseen on the screen.

What I got, unconsciously, from admiring Fred Astaire was that he didn't want what he was doing to look difficult. What was difficult, in my opinion, was making it look so genuine, so effortless. I equally have tried to remain unseen on the screen.

There was never any point in my life when I wasn't called Mr. Donen. I'm told my first words were, 'Call me Mr. Donen.' But I suspect that's apocryphal. My mother, Mrs. Donen, tended to exaggerate.

I think of myself as a meat-and-potatoes kind of director.

You see, it took me so long, it was such a struggle, to move myself out of musicals - because I had had a success, nobody wanted to allow me to direct a non-musical picture. It was so hard. And the only way I could get it going was to become a producer myself.

What we think about Paris is a part of how we feel about it. Our idea of Paris is our idea and we don't know that that's not necessarily the way it really is. It feels so real.

There's no more film. Film is gone. We photograph digitally and electronically. We don't really use film the same way anymore - it's disappearing little by little. Things change. We have to change with them. There's no point in liking or not liking it. It is what it is.