There was not a lot of dialogue. The titles were just to keep you up. It's the visual stimulation that hits the audience. That's the reason for film. Otherwise, we might as well turn the light out and call it radio.
That wasn't an ending. It was just a stopping point.
It's all just one film to me. Just different chapters.
People have asked me throughout the years which directors have influenced me. I don't know their names, because I was mostly influenced when I'd see a film and think, "Man, I want to be sure to never do anything like that." So I never learned their names. It wasn't a matter of copying or emulating somebody I admired. It was getting rid of a lot of stuff.
The Oscar for the films, it'd be nice. But I don't make those kind of films, and I don't think that will ever happen.
Most of my films I call arena films. I deal with a confined area -- an arena -- and I try to cover every aspect of it.
If something works for you, you continue to do it. I did a bunch of pictures for 20th Century Fox when Alan Ladd was over there, but I set the budgets so low that they'd approve and I'd deliver the film. They would have no say in it, which is the kind of arrangement I liked.
Titanic I thought was the most dreadful piece of work I've ever seen in my entire life. Another film that I think is equally bad was American Beauty. So badly acted and directed. But people like that.
All of my films deal with the same thing: striving, socially and culturally, to stay alive.
Maybe there's a chance to get back to grown-up films. Anything that uses humor and dramatic values to deal with human emotions and gets down to what people are to people.
Every ad for every film is exactly the same.
You will never see'Altman's Great Film of the Seventies: The Director's Cut' because you have never seen a film of mine that wasn't the director's cut. I have never permitted it.
Chance is another name that we give to our mistakes. And all of the best things in my films are mistakes.
I've never had a big hit movie. "MASH" was probably the biggest. I don't make those kind of films, and I never have. I wish each one of them would just do billions of dollars worth of ticket sales, but they never do and they never will.
I make no apologies for Popeye. Behind M*A*S*H, it's my biggest hit. It got maligned by the critics because it wasn't Superman. It wasn't about special effects and it wasn't made for 14-year-old boys. The majority of films are made for 14-year-old boys; I don't know where they get the eight bucks to get in. It's hush money from the parents.
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