“It's sometimes discouraging to see all of a director's movies, because there's so much repetition. The auteurists took this to be a sign of a director's artistry, that you could recognize his movies. But it can also be a sign that he's a hack.”

— Pauline Kael

"The Perils of Being Pauline" http://wrt102summer2005.blogspot.com/2005/07/pauline-kael-new-yorker-interview.html, interview with Francis Davis, The New Yorker (October 2001). <br class="br">Interviews

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Pauline Kael72

American film critic 1919–2001

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“I saw Stay as You Are and Tess only. I didn't ask her if she saw every movie I did. I could never think about that. Why do I have to see every movie she did? Why? Sometimes she did movies with people I was bored by. I don't care about this or that director. So if she is so beautiful in a movie, it is because of her, not a director. So why should I see the movie then? As long as I am not blind, I don't need a dog to see. If I am blind, maybe I would like the dog to lead me. I am not blind. I don't have to see her movies. I know my child.”

Klaus Kinski (1926–1991) German actor

On his daughter, Nastassja, as quoted in Denise Worrell (1989), Icons: Intimate Portraits.

“Movies make hash of the schoolmarm’s approach of how well the artist fulfilled his intentions. Whatever the original intention of the writers and director, it is usually supplanted, as the production gets under way, by the intention to make money — and the industry judges the film by how well it fulfills that intention. But if you could see the "artist’s intentions" you’d probably wish you couldn’t anyway. Nothing is so deathly to enjoyment as the relentless march of a movie to fulfill its obvious purpose. This is, indeed, almost a defining characteristic of the hack director, as distinguished from an artist.”

Pauline Kael book Going Steady

Going Steady (1969), Trash, Art and the Movies (February 1969)

“First time directors - they may not make good movies all the time but they are always the best directors to work for because they’re always so excited, always so committed to what they’re trying to do.”

Clancy Brown (1959) American actor and voice actor

“I have always hoped that Asian movies can enjoy better development and can enjoy a better position in relation to the rest of the world. I'm sure this is the hope and goal of all movie directors in Asia.”

Zhang Yimou (1950) Chinese actor, film director, screenwriter and film producer

"Zhang Yimou TalkAsia Interview Transcript" in CNN http://edition.cnn.com/2005/WORLD/asiapcf/05/31/talkasia.zhang.script/ (14 May 2005)

“This is a painful movie to watch. But it is also exhilarating, as all good movies are, because we are watching the director and actors venturing beyond any conventional idea of what a modern movie can be about. Here there is no plot, no characters to identify with, no hope. But there is care: The filmmakers care enough about these people to observe them very closely, to note how they look and sound and what they feel.”

Roger Ebert (1942–2013) American film critic, author, journalist, and TV presenter

Review http://www.rogerebert.com/reviews/naked-1994 of Naked (18 February 1994) <br class="br">Reviews, Four star reviews

“Fiction film is really different from documentary in this aspect. It is less objective, because the director expresses a subjective point of view with the movie. I would like the movie to look like a documentary, look real.”

Zhang Yimou (1950) Chinese actor, film director, screenwriter and film producer

"No one to be Missed" in Off Screen https://offscreen.com/view/zhang_yimou (April 1999)

“There are directors that make one good movie their whole life, but this movie creates a buzz around the director, then they get like forever good reviews. Till someone 20 years later says, look, to be honest I liked only the one movie of that guy. In my case it’s exactly the opposite. I get trashed for whatever I do. They don’t see any difference in what I’m doing.”

Uwe Boll (1965) German restaurateur and former filmmaker

2000s

“Writing a good movie brings a writer about as much fame as steering a bicycle. It gets him, however, more jobs. If his movie is bad it will attract only critical tut-tut for him. The producer, director, and stars are the geniuses who get the hosannas when it's a hit. Theirs are also the heads that are mounted on spears when it's a flop.”

Ben Hecht (1894–1964) American screenwriter

from Let's Make the Hero a MacArthur
Books

“When my son is taping for his permanent collection, he sits there and pauses his machine and when he is finished with it, he has a marvelous Clint Eastwood movie and there is no sign of a commercial. It is a brand new movie and he can put three of those on one 6-hour tape.”

Jack Valenti (1921–2007) President of the MPAA

Testimony to the US House of Representatives (1982)

“Kubrick wasn’t making a movie when I was working with him. He was preparing to make a movie, which is something quite different. Part of the charm of working with a director like Kubrick, if there is or was a director like him, was that during the privileged period before he even showed (the script) to the studio, it was just between him and me. You are sort of creating a game in the ball court of theory. There is no film being shot; there is no budget. It was in many ways a very exciting time. It’s also very fraught, particularly for a writer, because you don’t know if it’s going to be of any point.”

Frederic Raphael (1931) British writer

Of Eyes Wide Shut
Interview, http://www.tipjar.com/dan/raphael.htm

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