Zitat des Tages von Sydney Pollack:
My strength is with actors. I think I'm good at working with them to get the best performances, at seeing what it is that they have and that the story needs.
If you have a career like mine, which is so identified with Hollywood, with big studios and stars, you wonder if maybe you shouldn't go off and do what the world thinks of as more personal films with lesser-known people. But I think I've fooled everybody. I've made personal films all along. I just made them in another form.
There's no money in documentaries.
Each time I make a movie, it's a little bit like taking another course in something because there's an argument between these people that I don't necessarily have an answer to.
Even in 'Victor/Victoria,' there was talk about what it means to be a woman, what it means to be a man. You didn't get that in the old days, in 'Charley's Aunt' or 'Some Like It Hot.'
I do not have a good control of running sight gags. I laugh like hell when I see them, but I don't know how to invent those jokes.
For reasons which I can't logically explain, in all of the films I've done, I've ended up doing love stories of one kind or another, and it seems to me that love stories are extremely dependent on the obstacles you can place between the lovers. There is no love story without it.
I remembered myself as an unpopular and rather sad kid.
I don't care much about acting.
There's nothing wrong with crooks having lawyers. Everyone is entitled to a lawyer.
With a movie you're creating from the beginning this particular work, let's not call it work of art, because very few movies are works of art, let's just call them bits of popular culture, whatever they are, sometimes very rarely by accident a movie becomes a work of art.
I knew I wasn't going to be any great shakes as an actor - the way I looked, I would play the soda jerk or the friend of a friend.
I mean, certainly it's the single biggest event, I think, in terms of popular entertainment, or art even, if you say that, of the 20th Century. It's been film. It's the 20th Century's real art form.
You know, essentially when you do a play you're reinterpreting a work of art that already exists. That's not what happens with a movie.
You don't normally do another presentation of All About Eve. You do one All About Eve, and that's it.
Beginnings and endings are not interesting; audiences want the high point, which means you've got to get to it and get to it now - get the gun out fast, the clothes off quick.
By that I mean, I think that it is true that politics and political heroes have to satisfy our need to be greater than mortal in some way, and that's led them into creating illusions, sound bites, focus groups that tell you what to do.
Burt Lancaster was largely responsible for me becoming a director.
There will be people who are sensitive about seeing the American point of view presented as less than sympathetic.
At every premiere, I stand in the back, I never sit, worrying. And then maybe I hear them laugh or whatever, and the muscles unclench a little. But always, I feel like it's a fluke, that I'll never be able to do it again.
No, I never went to college. Always regretted it, always envied people who did.
But, I've made films in Japan, in Yugoslavia, all over Europe, all over the United States, Mexico, but not Hollywood.
You are not an active creator of the film.
If I'm lucky, in my wildest dreams I can make a picture every three years.
When you first start out, you want to be Fellini, or you want to be Bergman.
I mean, movies are like your kids or your fingers and toes or something, it's pretty hard to pick favorites.
For example, a man who might not have enormous charisma, who could be president 40 years ago, and who was a deserving president, I don't know that George Washington would be a president today, I don't know that Abe Lincoln would, I don't know that Roosevelt would.
Well, the wonderful thing about making movies, oddly enough, is that they're sort of highly motivated graduate studies in one or another field.
I love having made a movie.
And I taught acting for years, and without knowing it that was the real thing that started bending me toward directing.
I personally have never made a movie in Hollywood, because I don't want to get up in my own bed and then go to the movie set, and then come home at night to my real life.
What makes architecture extraordinary is that you're looking at the building, but your peripheral vision is also seeing how it fits within a space. And it's seeing more than one part of the building at one time.
Well, I was born and raised in the Midwest, in Indiana specifically, and my childhood was full of weekend movies, you know, the Saturday and Sunday popcorn movies.
I am not a cult director at all. I make Hollywood movies.
I mean, certainly writing, painting, photography, dance, architecture, there is an aspect of almost every art form that is useful and that merges into film in some way.
I don't know about liberal bias, but people of a liberal mentality are probably attracted in greater numbers to the arts than people of a conservative mentality.