Any Film, Or To Me

There Are Two Kinds Of Power You Have To Fight. The First Is The Money, And That's Just Our System. The Other Is The People Close Around You, Knowing When To Accept Their Criticism, Knowing When To Say No.

An Interviewer Once Asked Me To Discuss My Collaboration With Elmer Bernstein, And Precisely Why I Chose To Work With Him. My First Thought Was: How Could I Not Work With Elmer, When I Had The Chance? Simply Put, He's The Best There Is-the Very Best.

There's No Such Thing As Simple. Simple Is Hard.

On The One Hand, You're The Same Person, But As You Get Older, You Change Somewhat, And You Never Know How It's Going To Affect Your Work.

I'm Often Asked By Younger Filmmakers, 'why Do I Need To Look At Old Movies?' I've Made A Number Of Pictures In The Last 20 Years And The Response I Have To Give Them Is That I Still Consider Myself A Student. The More Pictures I've Made In 20 Years, The More I Realize I Really Don't Know. And I'm Always Looking For Something Or Someone That I Could Learn From. I Tell The Younger Filmmakers, And The Young Students, That Do It Like Painters Used To Do—that Painters Do—study The Old Masters, Enrich Your Palette, Expand The Canvas. There's Always So Much More To Learn.