Making a film is like going down a mine-once you've started you bid a metaphoricalgoodbye to the daylight and the outside world for the duration.
Symbolism perhaps is a bit in your face, and I've tried my best to control that as best I can as I've grown older and thought that one could approach something with a little more subtlety.
Hollywood is an extraordinary kind of temporary place.
There are certain actors who are very good at improvising, like Dustin Hoffman and Glenda Jackson.
I've never felt that using something with tongue in cheek has been a bad thing.
That attitude toward women as objects may have worked for the late Sixties, but it doesn't do so now.
I'll never forget the first screening at the Berlin Film Festival. As soon as the film ended there was an outbreak of booing, which made us look at each other with some surprise.
We taped all this and then got it transcribed and picked the best lines or ideas or ways to take a scene. I've done that many times, and it can improve the script but also wreck a perfectly good scene.
No, United Artists was a very extraordinary organization, because once they had agreed on the director, they believed in letting him have his way. They trusted me, and that doesn't often happen.
Oh, the relationship with actors and managers and agents and things is a terrible problem sometimes.
