So something I've felt I've learned with The Cosmopolitans shoot is using some agility and changing things quickly. That's something I found really useful on this shoot too. The gestation of The Cosmopolitans and this are slightly different from my other films. The script would be done and I'd be cutting it, but I wasn't always writing new material.

In my father's time - he was in college during many transitions in the late 1930s - they had great institutional loyalties... to his college, eventually the navy, the Democratic Party and certain ideals of our country. Those are the things that became broken with my generation.

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 call the '70s the "golden age of television"; in the early '70s there were sensationally good shows.

It becomes a lot better for the actors when we're 'shooting, shooting, shooting,' instead of waiting around in a trailer for something to happen.

I think Austin is read more now than Charles Dickens, and Dickens was much more popular in his day. She endures because of her classicism.

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.