I understand the feelings of critics asked to come up with the ten best films of any year, who say, Ten? Ten's a lot! - and those more generous spirits whose thumbs grow as long as Pinocchio's nose from overrating a lot of pictures, because they want the medium to do well, and because they'd like to feel good about it.

Bonnie and Clyde became not just a big hit, but a movie that went through young audiences like a first slug of Scotch. It affected clothes, talk, manners. Though set in the thirties it had the feeling of 1966, the most dangerous moment in American young people remembered.

The problem of journalism is simple. Journalists are rarely in a position to establish the truth of an issue themselves, since they didn't' witness it personally. They are entirely dependent on self-interested sources to supply their facts. Every part of the news-making process is defined by this relationship everything is colored by this reality.

I regret the way that America has elected to make films for its bluntest section of society and in ways that flatter them, and we have to recognize how much that is being done for money. We have to find another way of measuring ourselves. And film is one of the few ways that might be done.

In 1972 Charlie Chaplin was allowed back to America to receive an honorary Oscar, 'for the incalculable he had on making motion pictures the art form of this century'. That's what the Academy was always for - to blur the equation enough so that profit and fame could be called art.

We have a thriving subculture of 'independent' American movies that makes an impact on America as a whole roughly equivalent to that of a the modern literary novel. These are the films sincere viewers marry, whereas, once upon a time, movies were a lifetime of one night stands.