People always say to me, 'You have such a clearly defined sense of style,' and when I hear it, I get crazed, because what I hear - and I know they mean it as a compliment - is that I have such a narrow vision that I can't get out of it.

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.

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

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.

It was very hard to make 'Funny Face' in Paris because making movies is difficult and making a movie in a city that was glorious, that was unique and surprising, to get it, to put it on film you have to make choices and reject a lot of things so you're always wondering: "am I doing it right?"

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.

I don't have too many friends. I have only a few people who I really love.