That's one of the things I find really bad, is when people not only do injuries to others, but then lie about the others to justify it. It's not bad enough just being bad to someone, but then lying about it.

One of the problems of a director on the set is that we become overwhelmed by all the factors and threads of production, that sometimes we can't focus on our main job, which is steering the performances to create the whole film.

I think a lot of ["Cosmopolitans"] is marked by [Jerome David] Salinger. Salinger wouldn't allow his works to be adapted for film after his experience with "Uncle Wiggly in Connecticut," and I think that's great for us because then we have to do our own Salinger stories.

I find it really disturbing to be watching a lot of the medium that I'm trying to work in. I prefer to be doing things that are farther away.

I love watching the romantic comedies of the late '50s and early '60s. I used to have a rule that if Tony Randall's in it, it can't be bad.

I would say on the other side of the equation that there were really some massive sales and massive enthusiasm for some films that were given big releases. And I'm not really sure that happens in quite the same way, small films getting big releases. Maybe it still does, I don't know.

[Jerome David] Salinger was really taken to the cleaners by nasty critics in his day. I think Joan Didion was one of the people who attacked him in a very unfair way.