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.
We're always on the side of the animal that's being chased. We always seem to be on the side of the rabbit or the fox and not on the side of the hounds.
The eradication of anti-personnel mines around the world is one of the most important tasks facing the international community.
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.
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.
We also have a tendency to root for the fugitive. We're always on the side of the animal being chased.
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.
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.
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.
But Madonna has a small amount of talent when it comes to movies.
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.
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.
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.
Betrayal... is my favorite subject.
I think I've done pretty well. I've had about 46, or 47 nominations from my movies, and my films have won about 12 awards, so I don't have any complaints.
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.
I'm going to do an adaptation of the Italian film, Bread and Tulips. I really like that film.
I'm in the mood for another Moonstruck experience, for another romantic comedy.
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.
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.
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.
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 was really excited to have the opportunity to make Fiddler.
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