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The thing with films is that you have to make something that will get people out of their houses, away from the TV set. You must touch people, say something. Otherwise, they'll stay at home.

Elia Kazan

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Elia Kazan
Age: 94 †
Born: 1909
Born: September 7
Died: 2003
Died: September 28
Actor
Director
Film Actor
Film Director
Film Producer
Producer
Screenwriter
Theatrical Director
Writer
Istanbul
Elias Kazantzoglou
Must
Otherwise
Thing
Touch
Something
Films
Make
Stay
People
House
Away
Film
Home
Houses

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You have no idea how fragile an actor's self-worth is.
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Criticism- a big bite out of someone's back.
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I was able to capture on film things the actors didn't even know they were doing.
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I was very intense. I think it's a privilege to be an actor.
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I question the value of stars. I think they're overrated. They get too much money, too much praise.
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Acting, I found, was the biggest charge I ever had. What other artist has it so good? Approval so quick?
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A film director has to get a shot, no matter what he does. We're desperate people.
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I may be getting old, but not foolish.
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A good director's not sure when he gets on the set what he's going to do.
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To be a member of the Communist Party is to have a taste of the police state. It is a diluted taste but it is bitter and unforgettable.
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I like directors who come on the set and create something that's a little dangerous, difficult or unusual.
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Very often the Group actor is a critic when he's acting and an actor when he's criticizing.
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Take it from a director: if you get an actor that Sandy Meisner has trained, you've been blessed.
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There aren't many male stars - that's a loose term - like Kirk [Douglas] around. Most of those virile personalities have to keep working, continue the image because they can't do anything else. They don't even read. Their real identity is in making those pictures. They have to keep jumping on horses and hitting somebody on the head with a gun.
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I was not what you'd call a first-class actor, but I did all right.
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Some directors, like Stevens [George Stevens], shoot full circle, 360 degrees, and that's what's right for them. I generally shoot at about a seven to one ratio. But part of that is because I've worked on every screenplay, so I'm further along in the visual concept.
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Miller didn't write Death of a Salesman. He released it. It was there inside him, waiting to be turned loose. That's the measure of its merit.
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I don't remember anything anybody said in any Jack Ford picture. Nothing happens except action.
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There was no doubt that there was a vast organization which was making fools of all the liberals in Hollywood and taking their money, that there was a police state among the Left element in Hollywood and Broadway.
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I said to Tennessee, this thing is becoming the Marlon Brando show.
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