If you had the opportunity and some talent, there was no way you couldn't progress, because it was an open market. There was the advertising world, and there was the documentary world.

It was 1978 when Superman came out, and I kept thinking, Why don't they do something about it? They've done all these crappy attempts at comic book film adaptations. What can we do different? Why don't we just re-release this thing?

Soon it's all going to be digital anyway. It's all going to be saved on a little coin somewhere.

It was the beginning of film for television. So we had all of these great opportunities. Northwestern was probably the only major film school of its kind at the time that was graduating anybody important.

People say, You paid your dues, but I never paid any dues. It's always been a great trip.

With The Omen, I really felt I wasn't in control. It was panic.

I was painting sets, working in editorial as an assistant, driving their trucks, lying that I knew how to drive a truck, and doing commercials and documentaries.

It was just the thrill of a lifetime. Brando and Hackman were two of my heroes.

When you make a film, you like to run it with an audience. They tell you you're narrow-minded or subjective, or that seems too long, or that doesn't work.

It's developing a relationship with actors that makes it work.

Some actors just won't bend, and then it's a bitch. You either fight or find ways of putting your words in their mouth and letting them say it back at you.

I was very lucky. I started my own commercial company.

I realized what you could do in motion pictures by surrounding yourself with geniuses.

I was really disappointed that Warner Bros. didn't think highly enough of my film or my filmmaking to ask me to make the new Superman.

When I was doing half-hour shows, I loved it and was preparing myself for the hour shows. Then when I did the hour shows, I was preparing myself for the specials and features.

In motion pictures, the actor rules. The camera served the actor.

I've always wanted to do a Crichton book. I really love his writing.

It's only been a couple of times in my life that I've really locked horns with actors. It did not hurt the films, it just hurt the moment of the filmmaking.

I was tweaked by the idea of Superman immediately.

Working with Christopher, he convinced me he could fly, and he's convinced me he's going to walk again.

That's how you get a performance - they put trust in you.

Superman was never previewed because the producers didn't trust Warners with the film.

If you had the opportunity and some talent, there was no way you couldn't progress, because it was an open market. There was the advertising world, and there was the documentary world.

I'm open to comments. I'm open to objective points of view, because I've been very narrow and very subjective.

How was I going to make a man fly? How was I going to convince the public that an actor could fly?

I was an actor... or, at least, I was trying to be an actor.

When when my first feature opportunity came along, I wasn't prepared, but we did it in about 17 days.

First cuts are a bitch for a director, because it's been so many months and you put your trust in your editor and you're going to see your film assembled for the first time. You look at it and go, This is terrible. I hate it.

I had life threats, because people accused me of approaching Brando as God and his son was Jesus. I literally had people saying my blood would run in the streets for doing that.

I think what some people are doing with effects is starting to get silly. It's overused.

There is no such thing as a Mass Mind. The Mass Audience is made up of individuals, and good advertising is written always from one person to another. When it is aimed at millions it rarely moves anyone.

Religious advertising is undergoing a dramatic conversion.

In our factory, we make lipstick. In our advertising, we sell hope.

The simplest definition of advertising, and one that will probably meet the test of critical examination, is that advertising is selling in print.

In advertising, not to be different is virtual suicide.

It is not the purpose of the ad or commercial to make the reader or listener say, 'My what a clever ad.' It is the purpose of advertising to make the reader say, 'I believe I'll buy one when I'm shopping tomorrow'.

Young people are threatened... by the evil use of advertising techniques that stimulate the natural inclination to avoid hard work by promising the immediate satisfaction of every desire.

I saw a subliminal advertising executive, but only for a second.

I have learned that trying to guess what the boss or the client wants is the most debilitating of all influences in the creation of good advertising.

Advertising is totally unnecessary. Unless you hope to make money.

Advertising is the art of making whole lies out of half truths.

It is not unprofessional to give free legal advice, but advertising that the first visit will be free is a bit like a fox telling chickens he will not bite them until they cross the threshold of the hen house.

More traffic means more advertising dollars.

An advertising agency is 85 percent confusion and 15 percent commission.

Much of the messy advertising you see on television today is the product of committees. Committees can criticize advertisements, but they should never be allowed to create them.

In advertising, I was frustrated by having to deal with the client. It was the only time I really worked in a proper office, and I didn't like it-simple as that.

Magazines and advertising are flogging the idea that you have to keep changing things and get something new. I think that's balls - evil. But obviously that's your livelihood.

I can't say the advertising model is obsolete yet but it doesn't make a lot of sense in the long range.

Advertising says to people, 'Here's what we've got. Here's what it will do for you. Here's how to get it.'