I still get a lot of material but I find that as one gets older you get more fussy. You know you're going spend a year or a year and a half on this and you know there are only so many films in you so you get a little bit more selective.
I think all Nazis didn't see themselves as bad people. I've never met a racist yet who thought he was a racist. Or an anti-Semite who thought they were anti-Semitic.
Obviously, In The Heat Of The Night was a landmark movie because the timing was perfect. It was in the middle of the Civil Rights Movement.
I try to find stories that I would think that everyone would find interesting, and just a good entertaining story, and then if I can find a story that has a raison d'etre behind it that I feel is important then that's the best for me.
But I've never met a racist yet who thinks he's a racist. That's always the disturbing thing about when we begin to look at ourselves.
I don't like to think that maybe I'm just getting old. I'm not too excited about watching a huge explosion. I'm more interested in people and characters.
Everything Sholom Aleichem talks about in his plays and his short stories is about people, family, man's relationship with his God, the breaking down of tradition.
But Madonna has a small amount of talent when it comes to movies.
When you shoot a musical, you're shooting to lipsynch tracks, so we had to figure out our choreography and work out what we wanted to do with each number before we did it.
Every generation deals with the breaking down of its tradition, and I think that they rediscovered the film.
A lot of American actors I work with are in character all day long. You can't talk to them. It's Method and the whole thing.
When you deal with a film that takes place in Europe, and you're going to work in English, you'd better work with European actors.
We also have a tendency to root for the fugitive. We're always on the side of the animal being chased.
It's an entire industry focusing on young male viewers that want action and violence. They sell us something that isn't valid. They're selling films like a product.
In America there's no rights for the artist, so whatever films I've made kind of belong to the studio.
I'm in the mood for another Moonstruck experience, for another romantic comedy.
I'm going to do an adaptation of the Italian film, Bread and Tulips. I really like that film.
We live in an age of publicity and hype. There's something about success that dehumanizes you, whereas failure reminds you of who you really are.
The eradication of anti-personnel mines around the world is one of the most important tasks facing the international community.
I mean they're making remakes of my films and I'm not even dead yet! Why would you want to make a remake?
I was really excited to have the opportunity to make Fiddler.
I work with a lot of movie stars.
I was very disappointed that Denzel didn't win Best Actor for The Hurricane because I thought he deserved it.
The album for Fiddler really took off. I think it was a combination of John Williams and the score. It was a very classy big album.
When the small independent film, which depends on its artistic appeal rather than wide commercial distribution by an MPAA member, is now denied access, the playing field becomes unfair and uneven.
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