Film Editors

"I think if I had my life again I would not be so utterly self-satisfied. (2004)"

"If you’re dead, you're dead, so who cares."

"[On the Swiss Dignitas assisted dying clinic] It's not a walk-in death. You don't just go in and say, "Here I am, do your worst". You have to go through a whole series of papers and re-examinations just to die. You have to fill in forms and things and go have to fly there, go back twice."

"I ALWAYS LIKED MR STALIN"

"I don't want to do something for the sake of it. I am prepared to wait. If I wait until I am buried, too bad."

"But when you look at the rubbish who are getting these awards and the absolute non-service they have given to the nation other than financing or working for political parties, you say, "What company am I in?" At least if you go straight to the House of Lords you can wear fancy dress and have a giggle."

"I really don't care if I get anything or not. [...] I'm very glad that they recognise my considerable skills as a toilet cleaner."

"An OBE is what you get if you clean the toilets well at King's Cross station."

"[On his mother, Helen] Nice, little, white-haired lady. She was a killer. If she decided she wasn't happy about something, she was acid."

"If I could go back, I would spend much more, earlier. No question. This sounds absolutely crass, but I would have taken private planes earlier, would have had a chauffeur and better cars earlier, I'd have bought better paintings earlier."

"I think the lesbians have come over with considerable dignity and you have come over as an arsehole."

"So when I'm directing now, you see, I'm thinking of myself, I'm projecting myself in five weeks' time, sitting in a little room with two assistants, saying, "I now need a piece of film when Mr. Caine does this, or Mr. Moore does that." And if I haven't got it, I say, "Damn it, I should have gotten that." So all the time I'm imagining myself in that little X-time hence which is why I can shoot a very complicated pattern without any pre-planning. Because I'm two people. I'm Arnold Crust, the editor, and I'm Michael Winner, the director."

"[From the section entitled "Winner Talking" in a personal booklet] Lunacy is a very important quality for a successful director. Most top directors are quite a bit batty. That's what makes them great. They can conceive fantasies beyond the normal mind. Another quality is just keeping alive. It is quite remarkable that no director has been murdered in cold blood on the set."

"[To extras dressed as London policemen] You're just standing there! DOING NOTHING! Why should I pay you for doing nothing? I want you to run. You understand run! [...] R-U-N? RUN?"

"I think with less accomplished actors you often have to play tricks [...] You may actually want to upset them to make them look upset on the screen so they carry that forward."

"A team effort is a lot of people, doing what I say."

"So this is it: goodbye. I’ve been writing this column for nearly 20 years and I don’t want a carriage clock or a gold watch. I am trying to get rid of stuff, not collect it."

"[Marlon] Brando was my best friend, [Robert] Mitchum, Burt Lancaster, even though he tried to kill me three times."

"There is no such thing as science fiction, there is only science eventuality."

"Oh, torture. Torture. My pubic hairs went gray."

"I love Rambo but I think it's potentially a very dangerous movie. It changes history in a frightening way."

"Failure is inevitable. Success is elusive."

"Steven's films are marked most importantly by a faith in our common humanity. His stories have shaped America's story, and his values have shaped our world."

"I think there's a side of me that's trying to compete with Lucas and Spielberg — I don't usually admit this publicly — because I tend to think that they only go so far, and their view of the world is rather simplistic. What I want to do is take whatever cinema is considered normal or successful at a particular time and play around with it — to use it as a way of luring audiences in."

"[Steven Spielberg's films] are comforting, they always give you answers and I don't think they're very clever answers. … The success of most Hollywood films these days is down to fact that they're comforting. They tie things up in nice little bows and give you answers, even if the answers are stupid, you go home and you don't have to think about it. … The great filmmakers make you go home and think about it."

"Spielberg has been ridiculed for shooting his actors from below against impossibly Spielbergian skies and a denouement that lays the love on copiously. But there’s nothing simpleminded about how he uses movie magic, as a spell to dispel nihilism, to save us from the worst of ourselves by summoning up the best."

"I couldn't retire if I hadn't done The Psychiatrist, one thing that was absolutely right! I was a last-minute choice. I hadn't read the script when I came on the set. But I watched Spielberg directing — this kid, this infant in a cowboy hat — and I knew after five minutes we had something. You get so distrustful in this business that you get to expect nothing from a director. If he leaves you alone, he's a good director. But to find one like Spielberg who really brings a scene to life, who genuinely contributes — it makes you want to cry. It's like being an orphan all your life who is suddenly adopted."

"Watching violence in movies or TV programs stimulates the spectators to imitate what they see much more than if seen live or on TV news. In movies, violence is filmed with perfect illumination, spectacular scenery, and in slow motion, making it even romantic. However, in the news, the public has a much better perception of how horrible violence can be, and it is used with objectives that do not exist in the movies."

"People have forgotten how to tell a story."

"I interviewed survivors, I went to Poland, saw the cities and spent time with the people and spoke to the Jews who had come back to Poland after the war and talked about why they had come back."

"Godzilla was the most masterful of all dinosaur movies because it made you believe it was really happening."

"I dream for a living."

"The most expensive habit in the world is celluloid, not heroin, and I need a fix every few years."

"One man writes a novel. One man writes a symphony. It is essential that one man make a film."

"You say, 'Gee, I wish he'd made more [films].' But these were enough. Because there's so much in each one. You know, there's so much. Yeah, it would've been nice for him to have made more. But that's not the process. That wasn't his process, and what he did make was something so special and unique, it's like a different movie every time you see it."

"I love almost all of Stanley Kubrick, there’s almost no Stanley Kubrick I don’t love. I love Lolita, I love Dr. Strangelove. I love A Clockwork Orange, obviously. I even like a lot of Barry Lyndon (laughs). And early stuff, like The Killing and Paths of Glory. … It’s ridiculous. Look, he made the best comedy ever, he may have made one of the best science fiction movies ever, he made the best horror movie ever. I couldn’t watch the end of The Shining. I went through half The Shining for years before I could finish, because I’m a writer and as soon as he starts writing “All work and no play makes Jack a dull boy,” I had to turn it off. It’s almost like Picasso in that he mastered so many different genres. … he took his time and patience and he had a crew of like 18 people. They were very handmade movies these were not large behemoths that he did; they were very thoughtful and his editing process was long. He’s kind of without peer really. If I was gonna settle on a director, probably Kubrick."

"When you think of the visual style, when you think of the visual language of a film there tends to be a natural separation of the visual style and the narrative elements, but with the great, whether it is Stanley Kubrick, Terrence Malick or Hitchcock what you're seeing is inseparable, a vital relationship between the images and the story he's telling."

"[Kubrick] always said that it was better to adapt a book rather than write an original screenplay, and that you should choose a work that isn't a masterpiece so you can improve on it. Which is what he's always done, except with Lolita."

"Is it good or bad? Is it necessary? Can I get rid of it? Does it work?"

"Include utter banalities."

"I have always enjoyed dealing with a slightly surrealistic situation and presenting it in a realistic manner. I've always liked fairy tales and myths, magical stories. I think they are somehow closer to the sense of reality one feels today than the equally stylized "realistic" story in which a great deal of selectivity and omission has to occur in order to preserve its "realist" style."

"There's something in the human personality which resents things that are clear, and conversely, something which is attracted to puzzles, enigmas, and allegories."

"Think [Schindler's List] was about the Holocaust?... That was about success, wasn’t it? The Holocaust is about six million people who get killed. ‘'Schindler’s List’' is about 600 who don’t. Anything else?"

"Never, ever go near power. Don't become friends with anyone who has real power. It's dangerous."

"Anyone who has ever been privileged to direct a film also knows that, although it can be like trying to write War and Peace in a bumper car in an amusement park, when you finally get it right, there are not many joys in life that can equal the feeling."

"The very meaninglessness of life forces man to create his own meaning. If it can be written or thought, it can be filmed."

"I don't like doing interviews. There is always the problem of being misquoted or, what's even worse, of being quoted exactly."

"You sit at the board and suddenly your heart leaps. Your hand trembles to pick up the piece and move it. But what chess teaches you is that you must sit there calmly and think about whether it’s really a good idea and whether there are other, better ideas."

"I think the big mistake in schools is trying to teach children anything, and by using fear as the basic motivation. Fear of getting failing grades, fear of not staying with your class, etc. Interest can produce learning on a scale compared to fear as a nuclear explosion to a firecracker."

"If man merely sat back and thought about his impending termination, and his terrifying insignificance and aloneness in the cosmos, he would surely go mad, or succumb to a numbing sense of futility. Why, he might ask himself, should he bother to write a great symphony, or strive to make a living, or even to love another, when he is no more than a momentary microbe on a dust mote whirling through the unimaginable immensity of space? ... Those of us who are forced by their own sensibilities to view their lives in this perspective — who recognize that there is no purpose they can comprehend and that amidst a countless myriad of stars their existence goes unknown and unchronicled — can fall prey all too easily to the ultimate anomie. … The world's religions, for all their parochialism, did supply a kind of consolation for this great ache … This shattering recognition of our mortality is at the root of far more mental illness than I suspect even psychiatrists are aware."