I did my very first film with Kirk in Detective Story when he was the greatest, greatest star in the world. I fell in love with him, had a crush on him then.

Kirk is a man, and he loves it. He loves women.

I did my very first film with Kirk in Detective Story when he was the greatest, greatest star in the world. I fell in love with him, had a crush on him then.

When I became a director, I wanted to convince a very reluctant Sidney into allowing me to go on the journey of his life. Sidney had gone ahead of every other African American actor.

I am proud of Kirk. I think he drums to his own drummer in every way.

I've been married to one Marxist and one Fascist, and neither one would take the garbage out.

My instinct was that it was Sidney's childhood in the Bahamas that gave him the fearlessness to fight racism. So this documentary was a kind of rounding out of what had begun in that scene in In the Heat of the Night.

What goes on between a father and a son, which is usually such a private matter, is that they are able to be honest with each other, and be honest with me, as a director. It's just remarkable.

It's a very good feeling to be around a man who thinks women are juicy.

You don't need a love scene to show love.

I don't think I fit the Marilyn Maxwell mode.

This is our lives. The way to give it dignity is to tell the truth.

I know what you go through when you learn someone close to you has died.

People break down after a couple of hours. All the defenses go down, and there's a kind of communication that if I spent 20 years in a living room with one of these people, I would never, never know as much about them as I do in that one day.

Every actor in the room honored Sidney for being there so many years before. And everybody was so moved to be at a place where history was being made again. It was tangible.

A lot of very, very big stars were going down and not being seen or heard from again. Kirk took a huge chance in putting a blacklisted writer's name on the screen and somehow or other, he survived it, like he survives everything.

My best film composing experience was with Elia Kazan.

I was lucky enough to occasionally break out of that racist situation that prevails in the Hollywood film production community. But it was racist then and it will always be that way. It will never be otherwise.

'Batman' took 10 months to film, and by the time I stopped working on it, it took a long time before my English accent came out again. I was actually having to try for it.

Luck is everything... My good luck in life was to be a really frightened person. I'm fortunate to be a coward, to have a low threshold of fear, because a hero couldn't make a good suspense film.

I still feel that a movie has to attempt to say something - even if it fails miserably. But I've sort of given up on believing that I'm going to change the world with every film I choose to act in.

It's the difficulty we had with Mr. Bean, actually, when it went from TV to film. You certainly discover that you need to explain more about a character.

To make a documentary is one thing, to make a feature film is quite another.

I mean when the play was on in New York I was starting to get film offers coming through, and since the film's come out I get offered more than I used to, but it happens incrementally.

I think it would be very boring dramatically to have a film where everybody was a lawyer or doctor and had no faults. To me, the most important thing is to be truthful.

I like doing them and they're ridiculous and the actors can improvise a lot, and they don't have to be really realistic characters that hit a very specific tone as in a feature film. They're really fun, I want to make more of them definitely.

One of the most interesting aspects of the film project was collaborating with so many people - directors, filmmakers, and writers - over a five-year period. I learned that there are two components to this.

The best thing I can think of would be to create a union between something as beautiful and powerful and wonderful as Hollywood films and a criticism of the status quo. That's my dream, to make such a German film.

If he didn't fall in love he would have never come back near the end of the film. Because, what man is going to dishonor himself so that he comes back in front of the man that took a woman away from him... and warns her to save her life?

Robert Altman's Nashville is my all-time favorite film because it covers all the bases - it's original, moving, and has something to say, but also funny and incredibly entertaining.

I never see a novel as a film while I'm writing it. Mostly because novels and films are so different, and I'm such an internal novelist.

I have a movie coming out called Spun, which will be at the Toronto Film Fest.

Well ironically my last three roles have all been a mother. One was a Canadian film where the baby was taken away because she is a drug addict, in Irish Jam I play a mother to a four year old. I think in the future I'll be able to handle the role with a lot more depth.

And when you see it the first time you put the film together, the roughest cut, is when you want to go home and open up your veins and get in a warm tub and just go away. And then it gradually, maybe, works its way back, somewhere toward that spot you were at before.

A good film script should be able to do completely without dialogue.

My advice to young film-makers is this: don't follow trends, start them!

The whole aspect of cinema and film festivals should be a moment to come together and celebrate art and humanity. It would be a shame if there was such a divide.

It's really rare for film directors to be that interested in things other than themselves.

When I said I was going to audition for a film, I got a hearty laugh from all my family.

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.

We're making a commercial Hindi film catering to all types of audiences.

They all matter to me, whether I'm working on a Sam Jackson film for a week or I'm the star of my own TV series - I take it all very seriously, and I have a healthy respect for the work in general, despite the role.

There are no black film composers doing the likes of Star Wars, doing the likes of E.T., doing the likes of Jurassic Park. There are none, nor will there ever be one. That ain't about to happen!

I've explored the worship side, the pop side, and the film scoring side of me.

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.

That would be getting up at 5 am... I don't understand why film's shoot such brutal hours. I think it'd be worth it to not be so strictly cost-effective and have an 8 hour day. The film's would benefit in the end.

Because when the film was first mooted, the Beatles didn't like the idea at all. In fact they wouldn't have any part in it. And when Brian had committed them, it was part of a deal he did with United Artists, I think.

Because there is actually something very interesting in Goodfellas, how the style of the film changes as time goes by and based on the mental state of the protagonist.

I have tried to preserve in my relationship to the film the same closeness and intimacy that exists between a painter and his canvas.