Nobody taught Picasso how to paint - he learned for himself. And nobody can teach you to be a producer. You can learn the mechanics, but you can't learn what's right about a script or a director or an actor. That comes from instinct and intuition. It comes from inside you.

After the war, there was no industry. We lost the war. We had our whole city destroyed. No money. No studio. No film. No camera. No equipment. We would shoot in the street. We had no actors. Nothing. But we wanted to do movies. And we did the best movies in the world.

I've been very lucky in my long life. On three continents, in diverse cultures, through happy moments, not-so-happy moments, and moments as marvelous as this one, I've had the privilege of working with the cinema's greatest masters.

It's a fantastic review. Sixty percent of the American reviews are sensational, 20% are mixed, not so good.

I have two young girls, 8 and 10. They really keep me young.

My philosophy is very simple. To feel young, you must work as long as you can.

If you get a book which is 600 pages, you have to reduce it to a script of 100 pages. In two hours of film, you cannot possibly include all the characters.

After The Silence of the Lambs and Hannibal, the audience would like to know where, when, and who arrests Hannibal Lecter for the first time. This is the story of Red Dragon.

The pope dies, you get another pope.

I realized the exciting place was behind the camera with the producer, director and so on.

When I cook, my brain stops completely.

We set ourselves a limit and cut characters which weren't so vital.

If you lived in a provincial town like Torre Annunziata, where there was nothing to do in the evening but go to the movies with your friends, the cinema was a world of fantasy. I had always been in love with it.

If no producer, no movie.

I see my face in the mirror, and I said, No, my ambition is not to be an actor.

To me the only real star of the movie is the writer. And I work with writers very closely, from outline to first draft and on to the seventh draft, whatever it takes. Then my job is to support the director to make the best movie we can. Some producers try to go past them, but my job is to support them.

The audience wants to be attracted not by the critics, but by a great story. You must deliver to the audience emotion - and when I say emotion, I mean suspense, drama, love.

Making movies is all about instinct.

Nobody taught Picasso how to paint - he learned for himself. And nobody can teach you to be a producer. You can learn the mechanics, but you can't learn what's right about a script or a director or an actor. That comes from instinct and intuition. It comes from inside you.

These scenes deal with what happened before Hannibal Lecter was captured for the first time.

Mr Tony Hopkins says he's willing to do it if he likes the script.

I see my face in the mirror, and I said, 'No, my ambition is not to be an actor.'

My favorite actor is Wallace Beery.

I've been a very lucky actor.

I don't think I could be happy as an actor if there was a tyrant on the set.

When I was starting to get noticed as an actor in the 1970s for something other than the third cowboy on the right who ended up dying in every movie or episode, Burt Reynolds was the biggest star in the world.

Most parts that can be played by one actor can equally well be played by another, but not this.

I think, frankly, that I'm a better director than I was an actor.

I knew an actor's career goes up and down and back up again. Your standing in this business can't be your whole identity; otherwise, you're doomed.

I don't think any actor feels comfortable watching themselves in movies. You must be very narcissistic. The problem with your own opinion of yourself is that contrary to the normal spectators, when you watch a film you are in, you only watch yourself.

I don't think there has been any increase in sophistication in the audience. When people are aware of a concept that's easy to understand, and there's an actor who will attract them to the theater and it's a movie that's funny three-quarters of the time, it will be successful.

I never dreamed about being an actor, because that was out of reach. Coming from a small town that was big in farming, and also big in clothing factories, you don't dream about being a professional football player or an actor.

My goal was always to be recognized as a good actor but no one was interested in that, simply because society just wants to warm towards your appearance. This is the great blemish of society.

If you really do want to be an actor who can satisfy himself and his audience, you need to be vulnerable.

To be honest with you, when I got into this I never thought about reviews. I never thought about what people would say about me. I was just a young guy who was excited to become a comedian and an actor and I just wanted to get to do what I got to do.

It was very natural for me to want to disappear into dark theater, I am really very shy. That is something that people never seem to fully grasp because, when you are an actor, you are meant to be an exhibitionist.

I think that I've still not been successful at playing the role of the retired actor, and I'd like to work on that.

And once you cease to be a real person, you stop being a good actor.

When I decided I wanted to be an actor, I said I wanted to work with quality actors and directors.

There are roles I want that my agency might not want me to do because of the subject matter or whatever. Or there are roles that people won't bring to me because they don't think I'll do it. And that is a big strain because an actor wants to act.

Reality is, I'm an actor and an entertainer, and I really wouldn't know what to do with another profession.

I still feel like I'm trying to make it. It's hard to shed the struggling actor thing.

Only a great actor finds the difficulties of the actor's art infinite.

Follow the wisdom of the great actor, James Cagney, you hit your mark, you look the other guy in the eye, and you tell the truth.

I was always a character actor. I just looked like Little Red Riding Hood.

In other words, I wouldn't like to be an actor if I could only be real. I like to get wild, behaviorally wild, and it's crazy to think of any form where it's just one way.

An actor entering through the door, you've got nothing. But if he enters through the window, you've got a situation.

Oh, well, in Los Angeles everybody is an actor, or a producer, or a writer, or a director, or an agent, or... So everybody understands the hours.

I didn't want to be an actor.