When I make a film, I never want the film to become a vehicle of social propaganda. If I wanted to do that, I'd make documentaries.

But Madonna has a small amount of talent when it comes to movies.

It's an entire industry focusing on young male viewers that want action and violence. They sell us something that isn't valid. They're selling films like a product.

And even Moonstruck - for some reason the audience were just in the mood for a very romantic film, because it's one of the few romantic comedies to be nominated for a Best Picture Oscar.

I think you get better as you get older.

I think I've done pretty well. I've had about 46, or 47 nominations from my movies, and my films have won about 12 awards, so I don't have any complaints.

Moonstruck... was one of the few romantic comedies to be nominated for a Best Picture Oscar.

I work with a lot of movie stars.

I was very disappointed that Denzel didn't win Best Actor for The Hurricane because I thought he deserved it.

Every generation deals with the breaking down of its tradition, and I think that they rediscovered the film.

I mean they're making remakes of my films and I'm not even dead yet! Why would you want to make a remake?

I still get a lot of material but I find that as one gets older you get more fussy. You know you're going spend a year or a year and a half on this and you know there are only so many films in you so you get a little bit more selective.

Betrayal... is my favorite subject.

I don't make films to win prizes. I make films to make films.

We also have a tendency to root for the fugitive. We're always on the side of the animal being chased.

In America there's no rights for the artist, so whatever films I've made kind of belong to the studio.

And I think all Nazis didn't see themselves as bad people. I've never met a racist yet who thought he was a racist. Or an anti-Semite who thought they were anti-Semitic.

A lot of American actors I work with are in character all day long. You can't talk to them. It's Method and the whole thing.

I don't like to think that maybe I'm just getting old. I'm not too excited about watching a huge explosion. I'm more interested in people and characters.

We're always on the side of the animal that's being chased. We always seem to be on the side of the rabbit or the fox and not on the side of the hounds.

I think all Nazis didn't see themselves as bad people. I've never met a racist yet who thought he was a racist. Or an anti-Semite who thought they were anti-Semitic.

Michael Caine is a movie star, but he's also a great actor. I can't say that about every movie star. It's the concentration he has.

Well, you know the old line - to be nominated is what it's all about. I think that I've done pretty well - I've had about 46, or 47 nominations from my movies, and my films have won about 12 awards in total, so I don't really have any complaints.

With most British actors, it's amazing. I think they start with the character on the outside and work in.

Everything Sholom Aleichem talks about in his plays and his short stories is about people, family, man's relationship with his God, the breaking down of tradition.

Look, I'm just a storyteller. When I make a film, I never want the film to become a vehicle of social propaganda.

When I make a film, I never want the film to become a vehicle of social propaganda. If I wanted to do that, I'd make documentaries.

When you shoot a musical, you're shooting to lipsynch tracks, so we had to figure out our choreography and work out what we wanted to do with each number before we did it.

I'm in the mood for another Moonstruck experience, for another romantic comedy.

I'm going to do an adaptation of the Italian film, Bread and Tulips. I really like that film.

As you know, in America there's no rights for the artist, so whatever films I've made kind of belong to the studio, so if they want to remake it they can.

I'm just a storyteller.

I was really excited to have the opportunity to make Fiddler.

Do what you're told, and everything will be all right.

We also have a tendency to root for the fugitive. Were always on the side of the animal being chased.

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.