I am more lost in wonder than ever.

Critics have never been able to discover a unifying theme in my films. For thatmatter, neither have I.

Talk to them about things they don't know. Try to give them an inferiority complex. If the actress is beautiful, screw her. If she isn't, present her with a valuable painting she will not understand. If they insist on being boring, kick their asses or twist their noses. And that's about all there is to it.

Whenever something is convenient or was modified after 1970, you probably shouldn't use it as root.

A picture is made. You put a frame around it and move on. And one day you die. That is all there is to it.

For sheer strength of character, I wouldn't have dared to cross swords with Callas. I would rather have gone six rounds with Jack Dempsey.

I would spend more time with my children. I would make my money before spending it. I would learn the joys of wine instead of hard liquor. I would not smoke cigarettes when I had pneumonia. I would not marry a fifth time.

Once you have found the right shot to introduce the scene-written your first declarative sentence-then the rest flows. You've found the key to the whole scene.

What you try to become is a bringer of magic, for magic and the truth are closely allied and movies are sheer magic ... when they work, it's, well, it's glorious.

I don't try to guess what a million people will like. It's hard enough to know what I like.

Hollywood has always been a cage...a cage to catch our dreams

I don't approve of censorship. I like the French theatre idea. Put on the play, and if the audience doesn't care for it, or feels offended by it, they rip up the seats.

I relieve myself from the rigours of directing by casting the movie correctly.

She went right down into her own personal experience for everything, reached down and pulled something out of herself that was unique and extraordinary. She had no techniques. It was all the truth, it was only Marilyn. But it was Marilyn, plus. She found things, found things about womankind in herself.

When you make motion pictures, each picture is a life unto itself. When you finish and the picture is over, there's an understanding, a realization that we'll never be assembled this way again. That these relationships are severed forever and ever. And each of these films is a little life.

There is a wilful lemming-like persistance in remaking past successes time after time. They can't make them as good as they are in our memories, but they go on doing them and each time it's a disaster. Why don't we remake some of our bad pictures - I'd love another shot at 'Roots of Heaven' - and make them good?